By Gino Moliterno
The Italian cinema is considered one of many nice pillars of global cinema. motion pictures like Ladri di biciclette (1948), La dolce vita (1960), and Nuovo cinema Paradiso (1988) attracted unparalleled overseas acclaim and a name, which merely keep growing. Italian cinema has produced such performing legends as Sophia Loren and Roberto Benigni, in addition to world-renowned filmmakers like Federico Fellini, Sergio Leone, Mario Bava, Dario Argento, and Lina Wertmüller, the 1st lady to ever be nominated for the simplest Director award.
The Historical Dictionary of Italian Cinema offers a greater figuring out of the function Italian cinema has performed in movie historical past via a chronology, an introductory essay, a bibliography, appendixes, black-&-white pictures, and enormous quantities of cross-referenced dictionary entries on actors, actresses, video clips, manufacturers, enterprises, awards, movie credit, and terminology.
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Additional info for Historical Dictionary of Italian Cinema (Historical Dictionaries of Literature and the Arts)
After more work on the stage, Accorsi returned to the cinema in a very moving interpretation of a young Resistance fighter’s coming of age in Luchetti’s Piccoli maestri (Little Teachers, 1998). This was followed by the lead role in Luciano Ligabue’s Radiofreccia (Radio Arrow, 1998), which earned him a David di Donatello and the Premio Amidei. Following his appearance in the enormously popular television miniseries Come quando fuori piove (Hens, Ducks, Chicken and Swine, 2000), directed by Mario Monicelli, he played the young homosexual lover in Ferzan Ozpetek’s Le fate ignoranti (The Ignorant Fairies, 2001), a demanding role that was recognized with a Nastro d’argento.
6 • AMBROSIO, ARTURO In the following years Peppino, as he was universally known, produced many of Mario Camerini’s films, among them Batticuore (Heartbeat, 1939), I grandi magazzini (Department Store, 1939), and Una romantica avventura (A Romantic Adventure, 1940), as well as Alessandro Blasetti’s La cena delle beffe (The Jester’s Supper, 1940) and Quattro passi fra le nuvole (A Stroll through the Clouds, 1942). In the postwar period he distinguished himself further as producer of several of the great classics of neorealism including Vittorio De Sica’s Sciuscià (Shoe-Shine, 1946), Ladri di biciclette (Bicycle Thieves, 1948), and Umberto D (1952).
In the early 1940s he graduated to camera operator on a number of films directed by Christian-Jacque. Returning to Italy in 1947 for onlocation shooting of Christian-Jacque’s La Chartreuse de Parme (The Charterhouse of Parma, 1948), he met Luchino Visconti, who engaged him as director of photography for La terra trema (The Earth Trembles, 1948). He subsequently served as cinematographer on a number of Vittorio De Sica’s films, including Miracolo a Milano (Miracle in Milan, 1951), Umberto D (1952), and Stazione Termini (Indiscretion of an American Wife, 1953); photographed Augusto Genina’s Cielo sulla palude (Heaven over the Marshes, 1949); and also worked with Orson Welles on The Tragedy of Othello: The Moor 4 • ALESSANDRINI, GOFFREDO of Venice (1952).