262,913 research outputs found
The Gothic bet: Riccardo Freda’s I vampiri (1957) and the birth of Italian horror cinema from an industrial perspective
No full textScholars tend to agree on Riccardo Freda’s I vampiri (1957) being the first Italian horror film. Indeed, prior to Freda’s Paris-set Gothic potboiler, which mixes the Erzsébet Báthory legend with the Frankenstein myth, no horror movie proper seems to have been made in Italy. Drawing from a series of interviews given by the director over the years, the existing literature about Italian horror cinema conceives of I vampiri as a film appearing out of the blue, born on the fly because of an alleged bet and shot at breakneck speed in a couple of weeks. Freda’s use of the word “bet” in these interviews, and the film’s meagre returns at the domestic box-office, have led academics to see I vampiri as an epically brave, if commercially unsuccessful, challenge to the dominant taste—an experiment carried out by inventive yet unlucky pioneers, skilled artisans too ahead of their time. Resultantly, a great deal has been written about “the supposedly non-industrial quality” of Italian horror movies, “which apparently relied only on the craftsmanship of talented directors” (Di Chiara, 2016, p 30), such as Freda, Mario Bava and Antonio Margheriti. By revisiting Freda’s often-quoted anecdotes about the extemporaneous genesis of I vampiri in the light of the film’s production and distribution data preserved at the Archivio Centrale dello Stato in Rome, the present article seeks to shift the focus of discussion from the ‘Great Men’ to the broader economic, political and cultural context in which I vampiri was manufactured. The article reveals that it was the very nature of the post-war Italian film industry as regulated by the Christian-Democrat laws of 1949 that allowed Freda and his producers Ermanno Donati, Luigi Carpentieri and Goffredo Lombardo to place their bet on an unprecedented ‘Gothic made in Italy’. By adopting this materialistic approach, Freda’s experiment in terror ultimately emerges as a minor, low-risk speculation, and a market test confirming a long-standing Italian bias against home-grown horror narratives, to the point that it is more appropriate to consider Terence Fisher’s Dracula (1958) as the ‘originary film’ of Italian horror cinema
Immagine che rappresenta il violino Giuseppe Guarneri del Gesù 1734
No full text<p>Questa immagine rappresenta i due lati del violino Giuseppe Guarneri del Gesù 1734. Il violino è stato acquistato dalla Fondazione nel 1980.</p>
Father I Done my Duty : Private Forrest Little and the Fifth Vermont Volunteers in the Army of the Potomac, September 1861-July 1862
No full textThis essay, written by Professor Carl Guarneri, focuses on the history behind the Forrest Little letters.https://digitalcommons.stmarys-ca.edu/letters-of-forrest-little/1000/thumbnail.jp
Na tragu Vitruvijeva putujućeg čitatelja: nove spoznaje o djelovanju Giovannija Battiste Fontane na istočnom Jadranu krajem 17. stoljeća
No full textThis article revolves around a copy of Vitruvius’s De architectura once owned by the master builder Giovanni Battista Fontana. Firstly, it proposes the identification of this individual as the elder brother of the Ticino-born architect Carlo Fontana through a comparative analysis of handwritten samples from different archives. Secondly, it attempts a tentative reconstruction of Giovanni Battista Fontana’s career in the Eastern Adriatic. Old and newly discovered sources from state and monastic archives indicate that Fontana arrived in the Eastern Adriatic via Rome and settled in Korčula. From 1670 to the end of the century, he participated in various building projects in Kotor, Zadar, Cres, and Perast. His copy of Vitruvius plays a central role in the argumentation, as the material evidence of use detected in its pages provides insight into his reading interests and practices. Thus, it greatly contributes to the reconstruction of his corpus of works and architectural language. The article portrays a peripatetic master builder characterized by a high degree of mobility between his homeland in Ticino and the Eastern Adriatic via Rome, Ancona, and Dubrovnik, with a marked skill in combining the classical language of architecture with the local style of Korčula stonemasonry.U središtu članka nalazi se primjerak Vitruvijeve rasprave De architectura koji je nekoć posjedovao majstor graditelj Giovanni Battista Fontana. Autor ga najprije identificira kao starijeg brata arhitekta Carla Fontane iz Ticina kroz komparativnu analizu rukopisnih uzoraka iz različitih arhiva. Slijedi preliminarna rekonstrukcija karijere Giovannija Battiste Fontane na istočnom Jadranu. Stari i novootkriveni izvori iz državnih i samostanskih arhiva pokazuju da je Fontana stigao na istočni Jadran preko Rima i nastanio se u Korčuli. Od 1670. do kraja stoljeća sudjelovao je u raznim graditeljskim pothvatima u Kotoru, Zadru, Cresu i Perastu. Njegov primjerak Vitruvija igra središnju ulogu u argumentaciji, jer materijalni tragovi korištenja na stranicama knjige omogućuju uvid u Fontanine čitateljske interese i praksu, doprinoseći rekonstrukciji njegova graditeljskog korpusa i arhitektonskog vokabulara. Članak prikazuje Giovannija Battistu Fontanu kao putujućeg majstora graditeljstva s visokim stupnjem mobilnosti između domovine u Ticinu i istočnog Jadrana preko Rima, Ancone i Dubrovnika, s izrazitom vještinom kombiniranja klasičnog jezika arhitekture i lokalnog stila korčulanskog kamenoklesarstva
Wolfram Paulus’ Filme in Italien: Heidenlöcher und Nachsaison
No full textDieser Beitrag befasst sich mit der Zirkulation und Rezeption der ersten beiden Langfilme von Wolfram Paulus in Italien und präsentiert neue Erkenntnisse über die internationale Auswertung des österreichischen Kinos der 1980er- und 1990erJahre. Untersucht werden italienische Pressetexte, die sich auf "Heidenlöcher" (1986) und "Nachsaison" (1988) beziehen und in zwei unterschiedlichen Publikationstypen erschienen sind: in weitverbreiteten Tageszeitungen, die sich an eine
generelle Leserschaft wenden, und in auf Film und Kino spezialisierten Zeitschriften
Un occhio al mercato e uno alla morale sessuale: la censura preventiva dei copioni e l’horror italiano (1956-1974)
No full textThe article deals with a form of film censorship enacted from the late 1910s to the mid- 1970s by the Italian state: the so-called “preventive censorship”, i. e. the pre-shooting check of the screenplays that Italian producers wanted to turn into movies. In particular, the article focuses on the preventive censorship of Italian horror cinema, showing that, in addition to fighting obscene representations of the sexual sphere, the Italian state was an attentive observer of the horror business from 1956 (when the first Italian horror film was put into production) to 1973-1974 (when preventive censorship was discontinued)
Diritti reali e diritti di credito
No full textSi tratta di un'analisi generale della categoria dei diritti reali, in opposizione alle altre categorie dei diritti soggettivi, al fine di evidenziare i momenti di diversificazione della disciplina positiva dei diritti, all'interno delle singole categorie.
Il taglio dell'analisi è storico-comparativ
Fidelity for kicked atoms with gravity near a quantum resonance
No full textpeer reviewedKicked atoms under a constant Stark or gravity field are investigated for experimental setups with cold and ultracold atoms. The parametric stability of the quantum dynamics is studied using the fidelity. In the case of a quantum resonance, it is shown that the behavior of the fidelity depends on arithmetic properties of the gravity parameter. Close to a quantum resonance, the long-time asymptotics of the fidelity is studied by means of a pseudoclassical approximation introduced by Fishman et al. [J. Stat. Phys. 110, 911 (2003)]. The long-time decay of fidelity arises from the tunneling out of pseudoclassical stable islands, and a simple ansatz is proposed
which satisfactorily reproduces the main features observed in numerical simulations
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