307 research outputs found
Emilio Ghione and the Mask of Za La Mort
No full textThis study aims to examine the cultural impact of Emilio Ghione's Za La Mort films (1914-1924) on Italian culture. These films constitute a significant Italian combination of several early cinema genres and sub-genres, such as the apache film, the traces of which have almost entirely disappeared. More broadly, the changing interpretations of Za La Mort figure allow us to understand wider shifts in Italian and European popular culture.
The first chapter of the study considers the wealth of influences from European popular culture that Emilio Ghione merged into the apache films, such as the apache sub-culture in Paris. The second chapter of the study then reconstructs the Za La Mort filmography, most of which has now been lost, from film viewings and archival documents. The third chapter considers Emilio Ghione's Za La Mort novels and theatrical productions in the years 1922-1930, and Ghione's attempts to make Za La Mort a more Fascist and nationalistic figure. The fourth chapter considers the enduring figure of Za La Mort in Italian popular culture, especially in Raffaele Matarazzo's Fumeria D'Oppio and a 1940's fumetti series. The fifth chapter considers the audience reception of the Za La Mort films from the limited remaining evidence and, positioning the series between the Cinema of Attractions of the 1900s and the Classical Cinema of the mid-1920's, analyses how the Za La Mort films were constructed to please a predominantly working class audience that valued spectacular thrills and great acting performances over narrative consistency and stable characterisation.
This research re-establishes the importance of one of Italian cinema's most important film-makers of the silent period, and his enduring importance as a popular cultural figure in Italy
Notas sobre Le Giornate del Cinema Muto ¿Latinoamérica en Pordenone?
No full textThis brief article consists of the author’s notes on the 36th edition of Le Giornate del Cinema Muto in Pordenone, Italy. The author gives his impressions on the festival, particularly on the limited presence of Latin America, encouraging more participation.Key Words: Le Giornate del Cinema Muto, silent film festival, Pordenone, exhibition, festival programming.___________Notas sobre Le Giornate del Cinema Muto ¿Latinoamérica en Pordenone?Resumen: Este breve artículo recupera las notas del autor en su visita a la 36° edición del festival Le Giornate del Cinema Muto en Pordenone, Italia. En ellas, el autor da cuenta de la reducida presencia latinoamericana en el festival, alentando una mayor participación regional en el mismo.Palabras clave: Le Giornate del Cinema Muto,festival de cine silente, Pordenone, exhibición; programación___________Notas sobre Le Giornate del Cinema Muto. ¿A América Latina em Pordenone?Resumo: Este breve artigo recupera as notas do autor sobre a visita à 36°edição do festival Le giornate del cinema muto em Pordenone, Itália. Neles, o autor descreve a reduzida presença latino-americana no festival, incentivando maior participação regional no mesmo.Palavras chave: Le Giornate del Cinema Muto, festival de cinema silencioso, Pordenone, exposição, programação.___________ Date of reception: 22nd November 2017Date of acceptance:15th December 2017Este breve artículo recupera las notas del autor en su visita a la 36° edición del festival Le Giornate del Cinema Muto en Pordenone, Italia. En ellas, el autor da cuenta de la reducida presencia latinoamericana en el festival, alentando una mayor participación regional en el mismo.Palabras clave: Le Giornate del Cinema Muto, festival de cine silente, Pordenone, exhibición; programación.___________Notas sobre Le Giornate del Cinema Muto. ¿A América Latina em Pordenone? Resumo: Este breve artigo recupera as notas do autor sobre a visita à 36°edição do festival Le giornate del cinema muto em Pordenone, Itália. Neles, o autor descreve a reduzida presença latino-americana no festival, incentivando maior participação regional no mesmo.Palavras chave: Le Giornate del Cinema Muto, festival de cinema silencioso, Pordenone, exposição, programação.___________ Notes on the Le Giornate del Cinema Muto: Latin America in Pordenone?Abstract: This brief article consists of the author’s notes on the 36th edition of Le Giornate del Cinema Muto in Pordenone, Italy. The author gives his impressions on the festival, particularly on the limited presence of Latin America, encouraging more participation.Keywords: Le Giornate del Cinema Muto, silent film festival, Pordenone, exhibition, festival programming.___________ Fecha de recepción: 22 de noviembre de 2017Fecha de aceptación: 15 de diciembre de 2017
Deformed cross-stratified deposits in the early Pleistocene tidally-dominated Catanzaro strait-fill succession, Calabrian arc (southern Italy): Triggering mechanisms and environmental significance
No full textThe Early-Pleistocene Catanzaro strait-fill succession consists of large-scale tidal sets, accumulated in a
tectonically confined basin during a phase of rapid relative sea-level rise. It crops out mainly in the presentday
Catanzaro Trough where numerous field sections supported the characterization of the vertical and lateral
facies variations and the documentation of a variety of soft-sediment deformation structures, exposed throughout
their vertical and lateral extents. The soft-sediment deformation structures (SSDS) are the result of liquefaction
and fluidization processes that deformed cross-laminations and other primary structures into folds, fluidescape
structures, and structureless expanses. Three different groups of SSDS have been documented in the
cross-stratified deposits of the Catanzaro strait. The detailed description of these soft-sediment deformation
structures in a depositional context established by facies analysis enables interpretation in terms of possible
trigger mechanisms. Consistent relationships between the occurrence of distinctive SSDS and specific tidally
dominated facies have been established, indicating a probable autogenic origin for the soft-sediment
deformations. Liquefaction and fluidization features are interpreted as the result of increases in water porepressure,
induced by overloading. In particular, two types of overloading agents are hypothesized, which affect
the lee and stoss sides of the migrating dunes in distinct events, and inducing the deformation of foreset laminae
or sets of cross-strata, respectively
Relationships between sinkholes areal distribution, tectonic alignments and recent Seismicity in Abruzzo (Central Italy)
No full textImaging findings in hypophysitis: a review
No full textHypophysitis (HP) is a rare acute or chronic inflammatory condition of the pituitary gland. The greatest challenge in the management of HP is establishing a diagnosis through clinical criteria and non-invasive methods and predicting the patients’ clinical outcome. The aim of this review is to describe the neuroradiological findings of this rare disease, providing some information regarding the possible differential diagnosis in order to avoid unnecessary surgery. Gadolinium-enhanced pituitary magnetic resonance imaging (MRI) is considered the neuroradiological investigation of choice. The features suggestive for HP include an enlarged triangular- or dumbbell-shaped gland with a thickened and not obviously deviated stalk, further supported by the absence of posterior pituitary bright spot on T1weighted images, particularly in patients presenting with diabetes insipidus. Contrast enhancement pattern is quite variable; dural enhancement has been reported in some cases after intravenous contrast administration. The characterization of the unusual sellar mass is not straightforward and generally results in a wide differential. HP should be primarily differentiated from pituitary adenomas (including pituitary apoplexy), from pituitary metastases, and from other sellar and parasellar tumors, e.g., craniopharyngiomas, germinomas, gliomas, lymphomas, meningiomas, pituicytomas, chordomas, teratomas, dermoids and epidermoids, Rathke’s cleft cysts, and abscesses. In patients suspected for secondary forms related to systemic pathology, additional imaging is helpful in identifying other involved sites. Neuroradiologists need to know MRI appearance of this rare disease, as well as its typical symptoms and serological markers. A strict collaboration with endocrinologists and neurosurgeons is mandatory in order to reach a definitive diagnosis, allowing to promptly initiating an appropriate treatment
Francesca da Rimini nel cinema muto americano
No full textNel 1908 la Vitagraph Company of America rilasciò un cortometraggio diretto da J. Stuart Blackton intitolato Francesca di Rimini, or the Two Brothers dela durata di 15 minuti. Lo stesso regista due anni dopo rigirò ua secondo cortometraggio, Francesca di Rimini, dimostrazione evidente della notorietà di cui godeva in quegli anni l'episodio del quinto canto dell'Inferno dsntesco. Nel 1928 il grande regista David Wark Griffith riprese l'episodio in un lungometraggio muto che intitolò Drums of Love.En 1908 la Vitagraph Company of America va llançar un curtmetratge de 15 minuts dirigit per J. Stuart Blackton titulat Francesca di Rimini, or the Two Brothers. El mateix director, dos anys més tard, va rodar un segon curtmetratge, Francesca di Rimini, una clara demostració de la notorietat que l'episodi del cinquè cant de l'Infern de Dante gaudia en aquells anys. En 1928 el gran director David Wark Griffith va filmar l'episodi en un llargmetratge mut titulat Drums of Love.In 1908 the Vitagrapg Company of America released a 15 minutes short movie directed by J. Stuart Blackton entitled Francesca di Rimini, or the Two Brothers. The same director two years later directed a second short film, Francesca di Rimini, a clear proof of the notariety that the episode from Dante's fifth canto of Hell enjoyed at the time. In 1928 the great diector David Wark Griffith returned to the same episode in a silent full-length movie entitled Drums of Love.En 1908 la Vitagraph Company of America lanzó un cortometraje de 15 minutos dirigido por J. Stuart Blackton titulado Francesca di Rimini, or the Two Brothers. El mismo director, dos años más tarde, rodó un segundo cortometraje, Francesca di Rimini, una clara demostración de la notoriedad que el episodio del quinto canto del Infierno de Dante gozaba en aquellos años. En 1928 el gran director David Wark Griffith filmó el episodio en un largometraje mudo titulado Drums of Love
Francesca da Rimini nel cinema muto americano
No full textNel 1908 la Vitagraph Company of America rilasciò un cortometraggio diretto da J. Stuart Blackton intitolato Francesca di Rimini, or the Two Brothers dela durata di 15 minuti. Lo stesso regista due anni dopo rigirò ua secondo cortometraggio, Francesca di Rimini, dimostrazione evidente della notorietà di cui godeva in quegli anni l'episodio del quinto canto dell'Inferno dsntesco. Nel 1928 il grande regista David Wark Griffith riprese l'episodio in un lungometraggio muto che intitolò Drums of Love.En 1908 la Vitagraph Company of America va llançar un curtmetratge de 15 minuts dirigit per J. Stuart Blackton titulat Francesca di Rimini, or the Two Brothers. El mateix director, dos anys més tard, va rodar un segon curtmetratge, Francesca di Rimini, una clara demostració de la notorietat que l'episodi del cinquè cant de l'Infern de Dante gaudia en aquells anys. En 1928 el gran director David Wark Griffith va filmar l'episodi en un llargmetratge mut titulat Drums of Love.In 1908 the Vitagrapg Company of America released a 15 minutes short movie directed by J. Stuart Blackton entitled Francesca di Rimini, or the Two Brothers. The same director two years later directed a second short film, Francesca di Rimini, a clear proof of the notariety that the episode from Dante's fifth canto of Hell enjoyed at the time. In 1928 the great diector David Wark Griffith returned to the same episode in a silent full-length movie entitled Drums of Love.En 1908 la Vitagraph Company of America lanzó un cortometraje de 15 minutos dirigido por J. Stuart Blackton titulado Francesca di Rimini, or the Two Brothers. El mismo director, dos años más tarde, rodó un segundo cortometraje, Francesca di Rimini, una clara demostración de la notoriedad que el episodio del quinto canto del Infierno de Dante gozaba en aquellos años. En 1928 el gran director David Wark Griffith filmó el episodio en un largometraje mudo titulado Drums of Love
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