{"id":330061,"date":"2024-12-11T09:57:29","date_gmt":"2024-12-11T09:57:29","guid":{"rendered":"https:\/\/www.centroitalianofirenze.com\/?post_type=corso&p=330061"},"modified":"2024-12-11T12:09:49","modified_gmt":"2024-12-11T12:09:49","slug":"italian-cinema-and-italian-society","status":"publish","type":"corso","link":"https:\/\/www.centroitalianofirenze.com\/en\/corso\/italian-cinema-and-italian-society\/","title":{"rendered":"Italian Cinema and Italian Society"},"content":{"rendered":"

As in an old film club, let our teacher guide you in rediscover the most significant works of Italian cinema and the historical and social context in which they were produced.<\/p>\n

Two meetings per week in the evening hours, for the duration of three months, and a total of 24 meetings. An presentation by the directors, their works, and guided viewing of one film per lesson.<\/p>\n

Italian silent cinema <\/b>– A great industry, great art<\/p>\n

LESSON 1 DANTE\u2019S INFERNO (L\u2019INFERNO<\/i>), Milano Films, 1911<\/p>\n

Fascism and cinema in Italy<\/b> – The State controls the industry<\/p>\n

LESSON 2 THE EDUCATIONAL FILM UNION (L\u2019ISTITUTO LUCE<\/i>), 1924 – documentaries<\/p>\n

The Second World War<\/b> – Cinema becomes a free interpreter of contemporary history<\/p>\n

LESSON 3 ROME, OPEN CITY (ROMA CITT\u00e0 APERTA<\/i>), Roberto Rossellini, 1945<\/p>\n

LESSON 4 PAISAN (PAIS\u00c0), Roberto Rossellini, 1946<\/p>\n

Post-War period<\/b> – Italy faces reconstruction and rebirth<\/p>\n

LESSON 5 BICYCLE THIEVES (LADRO DI BICICLETTE<\/i>), Vittorio De Sica, 1948<\/p>\n

LESSON 6 PATH OF HOPE (IL CAMMINO DELLA SPERANZA<\/i>), Pietro Germi, 1950<\/p>\n

LESSON 7 EUROPE 51 (EUROPA 51<\/i>), Roberto Rossellini, 1951<\/p>\n

LESSON 8 BREAD, LOVE AND DREAMS (PANE, AMORE E FANTASIA)<\/i>, Luigi Comencini, 1953<\/p>\n

The economic miracle and Italian comedy<\/b> – Cinema tells the story of new life<\/p>\n

LESSON 9 AN AMERICAN IN ROME (UN AMERICANO A ROMA<\/i>), Steno, 1954<\/p>\n

LESSON 10 BIG DEAL ON MADONNA STREET (I SOLITI IGNOTI<\/i>), Mario Monicelli, 1958<\/p>\n

LESSON 11 DIVORCE ITALIAN STYLE (DIVORZIO ALL\u2019ITALIANA<\/i>), Pietro Germi, 1961<\/p>\n

LESSON 12 THE MONSTERS (I MOSTRI)<\/i>, Dino Risi, 1963<\/p>\n

Genres beyond comedy<\/b> – Peplum films and spaghetti western<\/p>\n

LESSON 13 THE LAST DAYS OF POMPEII (GLI ULTIMI GIORNI DI POMPEI)<\/i>, Sergio Leone, 1959<\/p>\n

LESSON 14 DJANGO, Sergio Corbucci, 1966<\/p>\n

Italian Auteur Cinema
\n<\/b>
\nAntonioni: the contemplation of solitude<\/p>\n

LESSON 15 RED DESERT (DESERTO ROSSO<\/i>),\u00a0 <\/span>Michelangelo Antonioni, 1964<\/p>\n

Fellini: the memory, the game, the dream<\/p>\n

LESSON 16 LA DOLCE VITA, Federico Fellini, 1960<\/p>\n

LESSON 17 ROMA, Federico Fellini, 1972<\/p>\n

Pasolini: reinventing cinema from art<\/p>\n

LESSON 18 THE DECAMERON (IL DECAMERON<\/i>), Pier Paolo Pasolini, 1971<\/p>\n

LESSON 19 WHAT ARE CLOUDS? (CHE COSA SONO LE NUVOLE?<\/i>), Pier Paolo Pasolini, 1968<\/p>\n

Political cinema<\/b> – Cinema reflects on the changing present<\/p>\n

LESSON 20 HANDS OVER THE CITY (LE MANI SULLA CITT\u00e0<\/i>), Francesco Rosi, 1963<\/p>\n

LESSON 21 INVESTIGATION OF A CITIZEN ABOVE SUSPICION (INDAGINE SU UN CITTADINO AL DI SOPRA DI OGNI SOSPETTO<\/i>), Elio Petri, 1970<\/p>\n

LESSON 22 THE MATTEI AFFAIR (IL CASO MATTEI<\/i>), Francesco Rosi, 1972<\/p>\n

Contemporary cinema<\/b><\/p>\n

LESSON 23 DEAR DIARY (CARO DIARIO<\/i>), Nanni Morea, 1993<\/p>\n

LESSON 24 THE CAIMAN (IL CAIMANO<\/i>), Nanni Morea, 2006<\/p>\n<\/div><\/div><\/div>