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    Wyświetlanie 1-8 z 8
    Tytuł:
    Fellini-Roma : sur les bords du Léthé. Un usage fellinien de la métalepse
    Fellini-Roma: Shadows by the River Lethe. On Fellinian Use of Metalepsis
    Autorzy:
    Tubman-Mary, Alix
    Powiązania:
    https://bibliotekanauki.pl/articles/2015109.pdf
    Data publikacji:
    2021
    Wydawca:
    Komisja Nauk Filologicznych Polskiej Akademii Nauk, Oddział we Wrocławiu
    Tematy:
    Italian cinema
    Fellini
    Rome
    metalepsis
    intermediality
    melancholy
    Opis:
    In Fellini’s Roma, the famous sequence in which ancient frescoes are discovered during the construction of the subway is a key scene and an allegory of his filmic and artistic approach. But Fellini’s boldness goes further. During the sequence, the filmmaker, using a somewhat fantastic shortcut, breaks through the wall that separates the world of the living and the forgotten world of ancient figures. He thus uses metalepsis at the heart of the film. Figures who were about to fade away under the effect of the outside world come again to life in his film, just as, in Virgil, the souls of the dead, grouped on the banks of the river Lethe, are waiting in the hope of returning to the world of the living. The film has often been compared to a patchwork, or a mosaic, imaging a complex and stratified city. But rather than a mosaic, we should speak of threshold crossings, that is to say rhetorical effects, amongst which the main one could be metalepsis. Fellini’s Roma is not only a melancholic and hectic fresco of a visionary director, but also an ever-moving network of initiatory paths. Through the Fellinian shifts and transgressions, it is the incessant renewal of Rome which is shown.
    Źródło:
    Academic Journal of Modern Philology; 2021, 11; 187-198
    2299-7164
    2353-3218
    Pojawia się w:
    Academic Journal of Modern Philology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Sinergie narrative: Cristo si è fermato a Eboli. La scrittura di Carlo Levi nello sguardo di Francesco Rosi
    Autorzy:
    Trapani, Gaspare
    Powiązania:
    https://bibliotekanauki.pl/articles/2083479.pdf
    Data publikacji:
    2019
    Wydawca:
    Polska Akademia Nauk. Czytelnia Czasopism PAN
    Tematy:
    Neorealism
    Carlo Levi
    Francesco Rosi
    Fascism
    Italian cinema
    Opis:
    Narrative synergies – Christ stopped at Eboli: The writing of Carlo Levi in the view of Francesco Rosi – In Christ Stopped at Eboli, Carlo Levi recounts his confinement in a recondite village of southern Italy, in an archaic world, by which he remains completely fascinated. In 1978, the director Francesco Rosi, adapting the documentary structure to the lyric moments of the literary text, offers us a wonderful film re-creation in which the intense autobiographical story of the anti-fascist writer intersects with geographical space at a historical moment crucial to Italy.
    Źródło:
    Kwartalnik Neofilologiczny; 2019, 2; 248-254
    0023-5911
    Pojawia się w:
    Kwartalnik Neofilologiczny
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Wizerunek mafii we Włoszech na wybranych przykładach filmowych
    The image of Italian Mafia in Italian Cinematography
    Autorzy:
    Baszak, Ewa
    Powiązania:
    https://bibliotekanauki.pl/articles/1114586.pdf
    Data publikacji:
    2019
    Wydawca:
    Collegium Witelona Uczelnia Państwowa
    Tematy:
    mafia
    kino włoskie
    Gomorra
    Cosa Nostra
    Ndranghetta
    Italian Cinema
    Gomorra, Cosa Nostra
    ‘Ndranghetta
    Opis:
    This paper shows the image of Mafia in Italian Cinematography. The author begins by presenting the origins of Mafia, who became a really powerful organization in the 19th century. In the second part, the author describes different forms of organized crime such as: Gomorra, Cosa Nostra, ‘Ndranghetta, taking into consideration their particular characteristics. In the last part, the focus is on various aspects of Mafia’s functioning as presented in Italian Cinematography, in selected films, which include: In nome della legge (1948, Pietro Germi), Cento Passi (2004, Marco TullioGiordana), Il giorno della civetta (1968, Damiano Damiani), Gomorra (2008, Matteo Garrone
    Źródło:
    Zeszyty Naukowe Państwowej Wyższej Szkoły Zawodowej im. Witelona w Legnicy; 2019, 1, 30; 123-131
    1896-8333
    Pojawia się w:
    Zeszyty Naukowe Państwowej Wyższej Szkoły Zawodowej im. Witelona w Legnicy
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    La diva gentile. Soava Gallone nelle riviste cinematografiche italiane dal 1915 al 1925
    The “Diva gentile”. The Actress Soava Gallone in Italian Cinema Magazines from 1915 to 1925
    Autorzy:
    Simeone, Marialaura
    Powiązania:
    https://bibliotekanauki.pl/articles/446381.pdf
    Data publikacji:
    2015-12-31
    Wydawca:
    Wydawnictwo Adam Marszałek
    Tematy:
    Soava Gallone
    Diva film
    critical reception
    Italian cinema
    Italian film magazines
    Diva-film
    ricezione critica
    cinema italiano
    riviste cinematografiche italiane
    Opis:
    This article illustrates the critical reception of Soava Gallone, born Stanislava Winawer, according to Italian movie magazines between 1915 and 1925. The career of the Polish actress, who settled in Italy in 1911, developed especially during the golden age of the “Diva-Film”, a proper Italian film genre that focuses attention on female roles and on the characters that they play, of Symbolist and Dannunzian derivation. The actress’ approach to her craft was a far cry from the canons of the “divas” of that time, who were characterised by languid gazes and mannered poses. While Lyda Borelli, Francesca Bertini, Pina Menechelli played mainly “femmes fatales”, Soava Gallone preferred more reassuring characters whose seductive implications were often derived from the cruelty of the male characters. In Avatar (Carmine Gallone, 1915), Gallone played a loyal wife; in Senza Colpa! (Carmine Gallone, 1915), she played an innocent woman forced to defend herself from an attempted rape with homicide; in La Chiamavano Cosetta (Eugenio Perego, 1917), she portrayed a woman pushed to false desires for luxury and wrongful wishes, having been ripped from her simple world. Finally, in Il Bacio di Cyrano (1919), Maman Poupée (1919), Amleto e il Suo Clown (1920) and Marcella (1921), she consistently portrayed the same type of character: a gentle woman with angelic features. Even the public image she tried to build for herself was that of a reassuring, smart and cultured woman. The photographs depicting her never showed her in poses as seductive as those of Menechelli or Bertini, and for the majority of the columnists of the Italian press of those years, Soava Gallone was described as “the pale blonde creature”, “the beautiful, simple and spontaneous [one]”, the “gentle and pleasing interpreter”.
    Il mio intervento intende illustrare la ricezione di Soava Gallone, nata Stanislawa Winawer, attraverso le riviste cinematografiche italiane tra gli anni 1915-1925. La carriera dell’attrice polacca, trapiantata in Italia nel 1911, si sviluppa soprattutto durante il periodo d’oro del “Diva-Film”, un vero e proprio genere cinematografico italiano che si concentra sulle interpreti femminili e sui personaggi che queste interpretano, di derivazione simbolista e dannunziana. L’attrice si caratterizza per un atteggiamento ben diverso rispetto ai canoni delle “dive” del tempo, tutte occhi languidi e pose manierate. Lyda Borelli, Francesca Bertini, Pina Menechelli interpretano soprattutto ruoli da femme fatale, Soava Gallone, invece, preferisce personaggi più rassicuranti, i cui risvolti seduttivi sono spesso derivati dalla crudeltà dei personaggi maschili. In Avatar (Carmine Gallone, 1915) è una moglie fedelissima, in Senza colpa! (Carmine Gallone, 1915) una creatura innocente costretta a difendersi da una tentata violenza con l’omicidio, in La chiamavano Cosetta (Eugenio Perego, 1917) viene spinta al lusso e a desideri sbagliati perché strappata dal suo mondo ingenuo. E ancora in Il bacio di Cyrano (1919), Maman Poupèe (1919), Amleto e il suo clown (1920), Marcella (1921), il suo è sempre un personaggio delicato e dai tratti angelici. Anche l’immagine pubblica che cerca di costruirsi è quella di una donna rassicurante, intelligente e colta. Le fotografie che la ritraggono non la mostrano mai nelle pose seduttive di una Menechelli o di una Bertini e per la maggior parte degli articolisti della stampa italiana di quegli anni, Soava Gallone è “la tenue bionda creatura”, “la bellissima, semplice e spontanea”, la “gentile e soave interprete”.
    Źródło:
    Italica Wratislaviensia; 2015, 6; 239-252
    2084-4514
    Pojawia się w:
    Italica Wratislaviensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Postkolonialne obrazy we współczesnym kinie włoskim
    Postcolonial cinema studies. The perspective of modern Italian cinema
    Autorzy:
    Baszak, Ewa
    Powiązania:
    https://bibliotekanauki.pl/articles/459922.pdf
    Data publikacji:
    2017
    Wydawca:
    Fundacja Pro Scientia Publica
    Tematy:
    postkolonializm, kino włoskie, migracje, imigranci, multikulturowość, rasizm
    postcolonialism, Italian cinema, migration, immigrations, multiculturalism, racism
    Opis:
    Aim of the study. The aim of this study is the examination of postcolonial imaginary in contemporary Italian cinema, the production of which has significantly increased. Speaking of postcolonialism , we need to first present the colonial legacy of Italy, so that we can then smoothly proceed to the postcolonial study of film with the following analysis of particular movies. Method. Analysis was based on the most important concepts of postcolonial film research. Results. Analysed movies less frequently touch on the subject of postcolonialism directly, also they consider different factors which caused the current migration tendencies, and also the creation of diasporic communities. Postcolonial film research is more frequently applied to the concept of multiculturality. Conclusions. Films under discussion represent contemporary Europe as shaped by the colonial past, which has created a lasting impact on its current state, and also through the prism of what followed it, which was migration - currently one of Europe’s major problems.
    Cel badań. Celem poniższej pracy jest zbadanie postkolonialnych obrazów we współczesnym kinie włoskim, których produkcja w ostatnich dwudziestu latach uległa znacznemu rozwojowi, nie tylko we Włoszech, ale i w całej Europie. Mówiąc o postkolonialiźmie w filmie, należy najpierw przedstawić kolonialne dziedzictwo Włoch, aby płynnie przejść do postkolonialnych studiów nad filmem, a co za tym idzie do analizy konkretnych tytułów filmowych. Metody badań. Przedmiotem moich badań są współczesne filmy włoskie, których tematyka pozostaje ściśle związana z postkolonializmem. Analiza została przeprowadzona na podstawie najważniejszych koncepcji postkolonialnych badań nad filmem (teoria Kobeny Mercer i Stuarta Hall, Elli Shohat i Roberta Stam oraz Laury Marks, Sandry Ponzanesi i Marguerite Waller). Wyniki badań. Analizowane filmy coraz częściej nie dotyczą bezpośrednio postkolonializmu, uwzględnia się inne niż tylko kolonialne czynniki sprawcze warunkujące dzisiejsze ruchy migracyjne oraz powstawanie wspólnot diasporycznych. Wnioski. Omawiane filmy ukazują współczesną Europę jako ukształtowaną przez kolonialną przeszłość, która wywarła trwały wpływ na teraźniejszość oraz przez pryzmat jej następstwa, jakim jest zjawisko migracji, które obecnie stanowi duży problem w Europie. Postkolonialne badania nad filmem, coraz częściej odnoszą się do pojęcia multikulturowości.
    Źródło:
    Ogrody Nauk i Sztuk; 2017, 7; 426-432
    2084-1426
    Pojawia się w:
    Ogrody Nauk i Sztuk
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    “Things Change but the Amerecano Is Here to Stay”: America in Italian Popular Movies of the 1980s
    Autorzy:
    Zangari, Sostene M.
    Powiązania:
    https://bibliotekanauki.pl/articles/626392.pdf
    Data publikacji:
    2013-11-30
    Wydawca:
    Wydawnictwo Uniwersytetu Śląskiego
    Tematy:
    talian popular film
    1980s
    representation of America
    film studies
    Italian comedies
    Italian cinema
    comparative Italian American studies
    cultural history
    Opis:
    Sostene M. ZangariUniversity of MilanItaly“Things Change but the Amerecano Is Here to Stay”: America in Italian Popular Movies of the 1980sThe article focuses on a number of film comedies of the early 1980s. In different ways, the movies rearticulate the relationship between Italy and the United States. In showing how Italians can beat Americans at sports, how they can indulge in conspicuous consumption and finally how even the United States are not alien to provincialism and backwardness, these movies express a new mood of confidence that was widely felt in Italian society at the time. However, these movies came at a moment when the Italian film industry was on the verge of its decline. Starting from the 1980s, in fact, American movies and distributors would colonize the Italian movie market and depress the Italian movie industry.
    Źródło:
    Review of International American Studies; 2017, 10, 2
    1991-2773
    Pojawia się w:
    Review of International American Studies
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Cinecittà w Rzymie - kompleks filmowy, muzealny i technologiczny
    Autorzy:
    Lisiecka-Muniak, Małgorzata Magdalena
    Powiązania:
    https://bibliotekanauki.pl/articles/1932563.pdf
    Data publikacji:
    2021-03-31
    Wydawca:
    Wydawnictwo Adam Marszałek
    Tematy:
    Rzym
    cinecittà
    kino włoskie
    studio filmowe
    miasteczko filmowe
    Rome
    Cinecittà
    Italian cinema
    film studio
    film town
    Opis:
    The article presents the history and current activities of Cinecittà in Rome, one of the most important film companies in the world, also known as „Hollywood on the Tiber”. The author draws attention to the fact that the research up to date has focused mainly on Italian cinema, while Cinecittà appears as a supplement to the critical analysis of that cinematography. Starting from the history of the production company, what dates back to 30’s of the XX century, the author shows how the Roman film town has changed over the years and what its legal situation is like. The next chapter describes the current activities of Cinecittà, where runs a professional film and television studio, which produces films, series, commercials, music videos, commercial events; a museum (Cinecittà si mostra) and an important and internatrional cultural institution (Istituto Luce) with educational and promotional range. The considerations are complemented with examples of films produced in the company. Summing up, the author suggests that Cinecittà deserves a separate and insightful elaboration, which does not still exist in Polish language.
    Artykuł przedstawia historię i aktualną działalność Cinecittà w Rzymie, jednej z najważniejszych wytwórni filmowych na świecie, zwanej też „Hollywood nad Tybrem”. Autorka zwraca uwagę na fakt, iż dotychczasowe badania skupiają się głównie na kinie włoskim, natomiast Cinecittà pojawia się w nich jako uzupełnienie krytycznej analizy tej kinematografii. Wychodząc od historii powstania wytwórni, która sięga lat trzydziestych ubiegłego wieku, autorka pokazuje w jaki sposób rzymskie miasteczko filmowe zmieniało się na przestrzeni lat i jak wygląda jego sytuacja prawna obecnie. W kolejnym rozdziale opisana jest aktualna działalność Cinecittà, gdzie funkcjonuje profesjonalne studio filmowo-telewizyjne, w którym realizowane są filmy, seriale, reklamy, teledyski i wydarzenia komercyjne, a także muzeum (Cinecittà si mostra) oraz ważna na arenie międzynarodowej instytucja kulturalna (Istituto Luce) o profilu edukacyjnym i promocyjnym. Rozważania uzupełniane są o przykłady filmów wyprodukowanych w rzymskiej wytwórni. W podsumowaniu autorka sugeruje, iż Cinecittà zasługuje na osobne i wnikliwe opracowanie książkowe, którego na polskim gruncie dotychczas nie ma.
    Źródło:
    Kultura i Edukacja; 2021, 1(131); 109-121
    1230-266X
    Pojawia się w:
    Kultura i Edukacja
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Italian education’s view of cinema: from suspicion to media education
    Autorzy:
    Iannuzzi, Rosa
    Lucena, Jorge Martínez
    Luque, Cristina Rodríguez
    Powiązania:
    https://bibliotekanauki.pl/articles/454234.pdf
    Data publikacji:
    2020
    Wydawca:
    Akademia Ignatianum w Krakowie
    Tematy:
    Italian education
    cinema
    teaching
    propaganda
    cross-mediality
    media education.
    Opis:
    From the outset, Italian education has been interested in the message of films and cinema’s power of persuasion. Prior to the advent of television, education viewed cinema with suspicion for the alleged damage it caused to the minds of young people. Later, it would view cinema as a means of fascist ideological propaganda. From the 1920s onwards, schools would use cinema as a teaching aid through the so-called “educational cinema”. Since 1960, schools have aimed to teach formal analysis and film content. On the threshold of the new millennium, the revolution in school autonomy obliged every educational institution to independently manage the financial resources allocated to them. This involved the arrival in schools of external experts who were entrusted with media education: they were supported by an internal tutor while the school coordinated the professionals who spe-cialized in cinema; meanwhile the subject teacher entered the Internet era with the innovation of the interactive whiteboard, assuming the role of multimedia author. Thus began the training of teachers within schools, who were registered on the national list of Visual Education Workers.
    Źródło:
    Multidisciplinary Journal of School Education; 2020, 17; 61-80
    2543-7585
    Pojawia się w:
    Multidisciplinary Journal of School Education
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-8 z 8

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