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Forza Italia!
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The History of Italian Cinema
Discusses renowned masters including Roberto Rossellini and Federico Fellini, as well as directors lesser known outside Italy like Dino Risi and Ettore Scola. The author examines overlooked Italian genre films such as horror movies, comedies, and Westerns, and he also devotes attention to neglected periods like the Fascist era. He illuminates the epic scope of Italian filmmaking, showing it to be a powerful cultural force in Italy and leaving no doubt about its enduring influence abroad. Encompassing the social, political, and technical aspects of the craft, the author recreates the world of Italian cinema.
After Fellini
In this work, Marcus interprets a body of work that managed to transcend the decline of Italian cinema's prominence within the industry during the last two decades of the 20th-century.
Puppetmasters
The CIA has been accused of a massive intelligence failure in the run-up to the 9/11 attacks -- the result, it is said, of a moralistic and bureaucratic approach to information-gathering. But the CIA's spies had few qualms when it came to cultivating terrorist organisations and interfering in the internal politics of Cold War Italy. Puppetmasters reveals how US intelligence services exploited the P2 masonic lodge to prop up friendly Christian Democrat-dominated governments and counter the growing political influence of the Italian Communist Party. It was a ruthless strategy involving coup plots, right wing terrorist bombings and the manipulation of the Red Brigades. And it gave Italy one of the bloodiest and most protracted periods of terrorist violence ever seen in a modern, industrialised society.
Film Quotations
Certain lines define a movie. Marlene Dietrich in Morocco: “Anyone who has faith in me is a sucker.” Too, there are lines that fit actor and character. Mae West in I’m No Angel: “I’m very quick in a slow way.” Jane Fonda in California Suite: “Fit? You think I look fit? What an awful shit you are. I look gorgeous.” From the classics to the grade–B slasher movies, over 11,000 quotes are arranged by over 900 subjects, like accidents, double entendres, eyes (and other body parts!), ice cream, luggage, parasites, and ugliness. Each quote gives the movie title, production company, year of release, speaker of the line, and, when appropriate, a comment putting the quote in context.
Bombe a inchiostro
Italia, anni Settanta. Mentre piombo e tritolo infiammano il Paese, si combatte una guerra più sotterranea e silenziosa tra le cosiddette fonti ufficiali dell'informazione e i molti rivoli della militanza democratica. Di fronte alle azioni di depistaggio dei servizi segreti "deviati", nascono gruppi di controinformazione impegnati a costruire, svelare e diffondere le notizie attraverso strumenti nuovi e alternativi: non più solo i giornali, ma anche il cinema, la radio, il teatro, i fumetti, la canzone, la satira. Per la prima volta, una generazione attenta e politicizzata tenta di smascherare le menzogne del potere. Grazie a numerosi documenti inediti, Aldo Giannuli ricostruisce con il rigore dello storico una stagione tormentata, dal Sessantotto al sequestro Moro, che ha contribuito in modo fondamentale alla costruzione dell'identità italiana.
Italian Film in the Shadow of Auschwitz
Throughout the book, Marcus brings a variety of perspectives to bear on the question of how Italian filmmakers are confronting the Holocaust, and why now given the sparse output of Holocaust films produced in Italy from 1945 to the early 1990s.
Encyclopedia of Italian Literary Studies: A-J
Publisher description
Revolutionary Desire in Italian Cinema
Revolutionary Desire in Italian Cinema is the first book to draw on psychoanalytical concepts and film theories to examine the critical tendency of Italian cinema and the way in which auteur Italian filmmakers have expressed their counter-ideological thought and criticism against Italian society. The book examines how by being committed to Italian social reality, Italian cinema expresses a desire for revolt against the status quo and the dominant ideological order. Taking as case studies Bernardo Bertolucci’s Prima della rivoluzione, Marco Bellocchio’s I pugni in tasca, Pier Paolo Pasolini’s Porcile, Nanni Moretti’s Ecce Bombo and La messa è finita, the book relies on socio-historio...
