1,721,044 research outputs found
Félix Morlion e Roberto Rossellini
No full textFélix Morlion e Roberto Rossellini” (in collaborazione con Tomaso Subini), in Attraverso lo schermo. Cinema e cultura cattolica in Italia, vol. 2, a cura di Ruggero Eugeni e Dario Viganò, Roma, Ente dello Spettacolo, 2006, pp. 257-286. Seconda parte di E. Dagrada: "L’uomo di cinema e il regista Rossellini", pp. 271-286. Prima parte di T. Subini, Félix Andries Morlion, uomo di cinema", pp. 257-271
I cattolici e il cinema religioso in Italia tra gli anni '40 e gli anni '70
No full textGiven the difficulty to define religious cinema on a theoretical level, it is instead convenient to move to the empirical level, and to provide an objective description of religious film as it was conceived during a given period and within a given context. This is possible by referring to the lists of religious movies drafted, between the fifties and the sixties, by one of the most important offices to which the encyclical "Vigilanti Cura" entrusted the control of cinema on behalf of the Catholic Church: the Italian Catholic Cinematographic Centre. The essay proposes a categorization of religious cinema of three different types, and surveys how Italian Catholics involved in the field of cinema interacted with these films
La doppia vita di "Francesco giullare di Dio". Giulio Andreotti, Félix Morlion e Roberto Rossellini
No full text
I cattolici e l’osceno : tra censura amministrativa e revisione cinematografica
No full textThe article deals with the relationship between the Catholic world and the censorship of the obscene
movie in Italy during the first two decades of Italian Republic. It stresses the importance that the theme
of obscenity has had for the Italian Catholics, and then it sheds light on censorship exercised by Catholics
on the one hand in the context of the State Censorship Office and on the other reviewing movies for the
church halls
Il cinema di Pasolini e la morte : tra complesso della mummia e sindrome di Frankenstein
No full textCinema’s ability to defeat death by stopping the run of time is written inside its own statute. Confiding on this capacity, Pasolini devotes his filmic work to the theme of death (interrogated through Christ’s myth) and elaborates a linguistic theory (strictly linked to the performative aspects of his artistic work) to give an explanation of death through a filmic metaphor
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