All entries for Saturday 02 February 2008

February 02, 2008

European Film Institutions

European Film Institutions

Please link here to other hub reference pages on Kinoeye

Under Development

This page is under development however the available links may well prove useful to visitors so the page will made open. Links will be added on an ongoing basis.  

Introduction

The purpose of this entry is to provide links to the wide range of organisations working within a European context rather than just a national context which help to promote the making, distribution and exhibition of films in or about Europe. It will also include links to a range of organisations which classify and develop knowledge about the history and development of cinema in Europe. This will act as a basis for raising ideas about the issues of audience development for European films as films about Europe which transcend national boundaries.  Without strong core audiences it will always be a problem for European cinema to create a clear identity beyond the bounds of the national. Please note that non-EU countries are also listed.

Austria

Austrian Film Commission

Belgium

Communauté française de Belgique

Cinergie Belgium  

Flanders Image  

Kinoeye Belgian Cinema Page

Belarus

Bosnia & Herzegovina 

Bulgaria 

Croatia

Cyprus 

Czech Republic 

Denmark 

danish_film_institute_banner.gif

Danish Film Institute

Danish Film Institute Facts and Figures Cover

Estonia

Guide to Shooting Film in Estonia

Baltic Film and Media School

European Cinema Institutions

Cineuropa - Four Language Site for European Cinema

Compendium: European Cultural Policies & Trends site

Europa Charter for Media Literacy

European Association of Animation Film

European Film Children's Association  


European Film Festivals

Crossing Europe Festival

The fifth edition of the CROSSING EUROPE Film Festival Linz takes place from 22 to 27 April 2008.
Based in the European Capital of Culture 2009, the festival has been dedicated since 2004 to a young, headstrong and contemporary European auteur cinema. Over the course of six days CROSSING EUROPE offers its international guests and the local cinema audience around 150 hand-picked documentary and feature films from all over Europe.

scanorama_lithuanian_film_fest_copy.jpg

Vilnius and Linz are cities that will become twin cultural capitals of Europe in 2009. Scanorama in partnership with the festival “Crossing Europe” started preparing a new continuous programme “Crossing Europe”, which is showcasing the most interesting films of Eastern and Central European directors that won prizes at the Linz film festival. Both Scanorama and “Crossing Europe” are young, ambitious festivals, members of the Alliance of Central and East European Film Festivals, who pursued bold cooperation among themselves well in advance of 2009. The first swallow in “Crossing Europe” section was Sergej Stanojkovski’s feature “Contact” (2005) that won the audience prize in Linz and was also screened at film festivals in Manheim-Heidelberg, San Paulo, Thessalonica, Belgrade, Sophia, Brooklyn, Bruxelles and other international locations.

Europa Cinemas Logo

ABOUT EUROPA

Created in 1992, thanks to the financing from the MEDIA Programme of the European Union and of the Centre National de la Cinématographie, Europa Cinemas has become the first cinemas network with a mainly European programming.

The network provides a financial support to cinemas that commit themselves to the programming of a significant number of non-domestic European films and to the organisation of promotional activities concerning European films for young audiences.

Thanks to the support of Eurimages and the French Ministry of Foreign Affairs, the activity of Europa Cinemas has extended to eastern European countries.

Thanks to the support of Euromed Audiovisuel of the European Union, the network has been set up in 12 Mediterranean countries, offering support to the promotion, distribution sector as well as to the exhibition of European and Mediterranean films.

EUROPA CINEMAS' OBJECTIVES




• To increase the programming of European and Mediterranean films in cinema theatres,
with non-national films taking priority.

• To encourage exhibitors' initiatives aimed at young audiences.

• To develop a network of cinema theatres to enable joint activities at an international level.

European Commission Media Programme Logo

MEDIA is the EU support programme for the European audiovisual industry. 

MEDIA co-finances training initiatives for audiovisual industry professionals, the development of production projects (feature films, television drama, documentaries, animation and new media), as well as the and promotion of European audiovisual works... more

The MEDIA 2007 Programme comprises a series of support measures for the European audiovisual industry focusing on:

The MEDIA programme is jointly run by the Information Society & Media Directorate General

European Film Academy

Founded in 1989, the European Film Academy (EFA) currently unites 1,800 European film professionals with the common aim of promoting European film culture. Throughout the year, the EFA initiates and participates in a series of activities dealing with film politics as well as economic, artistic, and training aspects. The programme includes conferences, seminars and workshops, and a common goal is to build a bridge between creativity and the industry. These activities culminate in the annual presentation of the European Film Awards

Eureopean Film Promotion

The mandate the European Film Promotions or EFP has set itself includes the following:


- to increase the competitive opportunities for
European films in the international marketplace;
- to improve access for European film professionals
to the international marketplace;
- to contribute, where possible, to the opening of

new markets for European film;

- to enhance the distrib
ution possibilities for European film;- to further share the accumulated knowledge and experience of the Association via its european wide network.

Finland

Finnish Film Foundation Banner


Former Yugoslavian Republic of Macedonia

France

CNC Logo

Created by the law of 25 October 1946, the Centre national de la cinématographie (CNC) is a public administrative organization, set up as a separate and financially independent entity.
The centre comes under the authority of the ministry of culture and communication and Véronique Cayla is its director general.

The principal missions of the CNC are :

  • regulatory
  • support for the film, broadcast, video, multimedia and technical industries,
  • promotion of film and television for distribution to all audiences
  • preservation and development of the film heritage


Germany

German Films Logo

Murnau Institute

Greece

Greek Film Centre

The Greek Film Center is a corporation that belongs to the broader public sector, is supervised by the Hellenic Ministry of Culture and subsidized by the state.

The GFC's basic goals are:

  • the protection, support and development of the art of film in Greece
  • the presentation, dissemination and promotion of Greek film productions both domestically and internationally

Kinoeye Theo Angelopoulos links page

Holland

Holland Film Logo

Hungary

Hungarian Film Logo

Iceland 

A BRIEF HISTORY OF ICELANDIC CINEMA

skraut2

The premiere of Land and Sons in January 1980 heralded the start of regular film production in Iceland. However, the history of Icelandic cinema is much older. Films were shown in Iceland for the first time in 1903 and shot in Iceland as early as in 1904.

Icelandic Film Centre

Ireland  

Irish Film Board Logo

Italy

Film Italia Logo

Latvia

Nacionālais kino centrs

This link is an English one

Lithuania 

 Home page » Contact us » About the project » Sitemap » Lietuviškai »

Lithuanian Filmmakers Union  

Institute of Documentary Film.

This is a Baltic Institution rather than a Lithuanian one. It is going under Lithuania as it relates to a Vilnius based conference.   

Luxemburg

Malta

Moldova 

Norway

Norwegian Film Institute

Welcome to the Norwegian Film Institute

The tasks of the former Norwegian Film Fund, Norwegian Film Institute and Norwegian Film Development are now being transferred to the new Norwegian Film Institute. The organization began operation on 1 April 2008.

The new organization will be the state's administrative body for film policy and adviser on matters of film policy.

The Norwegian Film Institute has some 100 employees. It has an operating budget of NOK 100 million, and receives over NOK 300 million in public funding.

The Institute's Director is Nina Refseth.

For now, you can find information about the new organization's former areas of activity at the same sites as in the past. Click on the buttons below. You'll find information about the MEDIA Program here.

Poland

PISF

Portugal 

Portuguese Institute for Cinema

Romania 

Russia 

Media Education in Russia

Media Education and Media Literacy in Russia: English Versions of Information

Serbia 

Serbian Film Fest Logo
SRP | ENG

Slovakia 

Slovakian Film Institute

Slovenia 

Slovenain Film Fund Logo

Spain  

Cine y Audiovisuales

Sweden  

Swedish Film Institute Logo

Switzerland 

Swiss Films

Switzerland Film Location


United Kingdom  

BFI Logo

Logo of the British Film Institute 

What we do

The BFI (British Film Institute) promotes understanding and appreciation of Britain's rich film and television heritage and culture. Established in 1933, the BFI runs a range of activities and services:

Film Education Logo

Ukraine




Roberto Rossellini: 1906–1977

Roberto Rossellini

Rossellini and Ingrid Bergman 1

Roberto Rossellini with Ingrid Bergman



Under Construction

Return to Italian directors hub page

Introduction

This article will be giving an overview of the work of Roberto Rossellini from Roma citta aperta until about 1963. This is when what are usually considered to be his most important films were made and include his classic neorealist films as well as his post-neorealist films many made with Ingrid Bergman and considered by many left-wing critics of the time to be a betrayal of neorealism. Given the scandal around the relationship between Rossellini and Bergman at a time when the Italian right-wing had become resurgent around Andreotti and the concommitant influence of the Roman Catholic Church it isn't hard to see why these films bombed at the box office however their influence on future filmmakers such as Truffaut was enormous. The overview will provide an introduction to the individual works which will have separate articles. There will also be an article about the general developments in Italy. Sadly the best part of one which was written has been the victim of hard disc crashes (yes plural). This kind of article is always important as films are usually deep participants in the SPECT (Social / Political / Economic / Cultural / Textual complex.  


Written as far back as 1986 Brunette's preface on Rossellini notes that he is perhaps the greatest unknown director who ver lived. As a central figure within neorealism and then moving on in his films with Ingrid Bergman to work with antinarrative methods and the use of deadtime Rossellini was ahead of his time preceding the work of Antonioni. Whilst he was to have enormous influence on filmmakers such as Godard and Truffaut it seems extraordinary that in a time when so many film directors have most of their work available on DVD very little of Rossellini's work is available. Even his neorealist films aren't all available. As for his later work Voyage to Italy is available from the BFI but other important work such as Stromboli is not. Hopefully by writing about him this will help stimulate demand for these works to become readily available. As can be seen from the bibliography below there is a large amount of critical writing in English readily available on Rossellini but without readily available texts this is not very helpful. By comparison most of Visconti's films are available although he is very underwritten by English speaking critics.

Rossellini and Neorealism


Rossellini made three films which are central to the cinematic tendency called Neorealism. These films are Rome Open City, Paisá, and Germany Year Zero.

Rossellini's main ideological thrust through these films was an emphasis on humanism ideas which ranged from an emphasis on solidarity between seemingly opposed idological positions of communism and catholicism against the common enemy of Nazism to a moral appeal for children in the former Nazi Germany to break with the amoralistic and anti-human ideas encapsualted in Nazism in Germany Year Zero. Paisá focused upon the cultural difficulties between Americans and Italians as the Allies gradually beat back Nazism in Italy.


Rome Open City 1,

Rome Open City 1945



Rome Open City 2

Rome Open City 1945


Rome Open City 3

Rome Open City 1945



Paisa 1

Paisa 1946


Paisa 3

Paisa 1946


Paisa 2

Paisa 1946



Paisa 4

Paisa 1946


Germany Year Zero

Germany Year Zero 1948



Germany Year Zero 1

Germany Year Zero 1948



Germany Year Zero 2

Germany Year Zero 1948



The Rossellini & Ingrid Bergman Collaboration


After the famous neorealist trilogy Rossellini is probably best remembered for the films he made with Ingrid Bergman. The full length feature films were: Stromboli (1949), Europa '51 (1952), Voyage to Italy (1953), Giovanna d'Arco al Rogo (1954), La Paura (Fear) (1954/55).

Bergman was to become Reossellini's wife. The story of how they first met and then started their cinematic collaboration seems extraordinary. According to Brunette (1996) Bergman and her then husband Petter Lindstrom saw Rome Open City in a small art cinema which by then was three years old. Bergman was thoroughly impressed If there there is such a man who can put this on the screen, he must be an absolutely heavenly being (Cited Brunette 1996 p 109). A few months later Bergman saw Paisà in an almost empty cinema for it was not popular in the US. Still excited by the director's work she was convinced that Rossellini's films would do much better if they had a named star in a leading role. This led to her famous letter to Rossellini:

Dear Mr Rossellini,
I saw your films Open City and Paisan and enjoyed them very much. If you need a Swedish actress who speaks English very well, who has not forgotten her German, who is not very understandable in French, and who in Italian only knows "ti amo" I am ready to come and make a film with you. (Cited Brunette 1996 p 109)

Rossellini's response was very enthusiastic and he outlined his ideas for the film which was to become Stromboli. Eventually he visited the Lindstrom home in California and fell in love with Bergman. Howard Hughes who was enthusiastic about Bergman ventually agreed to finance the film. Bergman duly went to Italy to shoot the film.

Bergman on Stromboli

Ingrid Bergman photographed on the island of Stromboli


Rossellini's filmmaking methods were somthing of a surprise to Bergman who was used to working to thoroughly prepared scripts and only working with professional actors. By comparison Rossellini was using many non-professional actors and his scripts wre loose and there was much expectation of improvisation. During the filming Bergman and Rossellini fell in love and Bergman wrote to her husband that she was going to stay with Rossellini. This caused a huge scandal in the USA.

Bergman on the island of Stromboli

Ingrid Bergman in Stromboli


The film was made in two versions one in English and one in Italian. Rossellini disowned the American version which was 20 minutes shorter and had been edited by the  RKO  studio totally undermining  Rossellini's intentions.

Whilst the Bergman films wre critically badly received by many critics at the time with the excption of the writers of Cahiers du Cinema critics such as Pter Bruntte and Laura Mulvey consider them to be the strongest and most innovative work of Rossellini.


Filmography

  • Beaubourg, centre d'art et de culture Georges Pompidou (1977)
  • Il messia (1976)
  • Anno uno (1974)
  • The World Population (1974)
  • Concerto per Michelangelo (1974)
  • Agostino d'Ippona (1972)
  • Intervista a Salvador Allende: La forza e la ragione (1971)
  • Rice University (1971)
  • Da Gerusalemme a Damasco (1970)
  • Les Carabiniers (1963)
  • Ro.Go.Pa.G. (segment: "Illibatezza") (1963)
  • Benito Mussolini (1962)
  • Anima nera (1962)
  • Uno sguardo dal ponte (1961)
  • Vanina Vanini (1961)
  • Viva l'Italia! (1961)
  • Era Notte a Roma (1960)
  • Il generale Della Rovere (1959)
  • India: Matri Bhumi (1959)
  • Giovanna d'Arco al rogo (1954)
  • La Paura (1954)
  • Viaggio in Italia (1954)
  • Dov'è la libertà...? (1954)
  • Amori di mezzo secolo (segment: "Napoli 1943") (1954)
  • Siamo donne (segment: "Ingrid Bergman") (1953)
  • Europa '51 (1952)
  • La macchina ammazzacattivi (1952)
  • Les Sept péchés capitaux (segment: "Envie, L'Envy") (1952)
  • Medico condotto (1952)
  • Francesco, giullare di Dio (1950)
  • Stromboli terra di Dio (1950)
  • L'Invasore (1949)
  • Germania anno zero (1948)
  • L'Amore (segments: "Il Miracolo" and "Una voce umana") (1948)
  • Paisà (1946)
  • Desiderio (1946)
  • Roma città aperta (1945)
  • L'Uomo dalla Croce (1943)
  • La nave bianca (1942)
  • Un Pilota ritorna (1942)
  • Il Ruscello di Ripasottile
  • Fantasia sottomarina (1940)
  • La Vispa Teresa (1939)
  • Il Tacchino prepotente (1939)
  • Luciano Serra pilota (1938)
  • La Fossa degli angeli
  • Prélude à l'aprés-midi d'un faune (1937)
  • Dafne (1936)


Webliography

Intute Arts and Humanities records on Rossellini

BBC 4 Profile of Rossellini 

Senses of Cinema on Rossellini  

Senses of Cinema Rossellini's Germany Year Zero

Roberto Rossellini and his Italian Cinema: The Search for Realism

Malcolm: The rise to Power of Lousi the XVI

Rossellini at UCLA

Rai TV on Rossellini  

Dr. Adrian Martin Review of Tag Gallagher's Biography of Rossellini 

Jump Cut. Re-evaluating Rossellini by Martin Walsh  



Bibliography 

Ben-Ghiat, Ruth. ‘The Facist War Trilogy’. Forgacs, David , Lutton, Sarah and Nowell-Smith Geoffrey.Eds. Roberto Rossellini: Magician of the Real . London: BFI

Bernadi, Sandro. 2000. ‘Rosselini’s Landscapes: Nature, Myth,History’. Forgacs, David , Lutton, Sarah and Nowell-Smith Geoffrey.Eds. Roberto Rossellini: Magician of the Real . London: BFI

Bondanella, Peter. 1993. The Films of Roberto Rossellini. Cambridge: CUP

Brunette, Peter. 1996. Roberto Rossellini. University of California Press: Berkley. (First publishd by OUP 1987)

Forgacs, David. 2000. ‘Introduction: Rossellini and the Critics’. Forgacs, David , Lutton, Sarah and Nowell-Smith Geoffrey.Eds. Roberto Rossellini: Magician of the Real . London: BFI

Forgacs, David , Lutton, Sarah and Nowell-Smith Geoffrey.Eds. 2000. Roberto Rossellini: Magician of the Real. London: BFI

Gallhaer, Tag. 1998. The Adventures of Roberto Rossellini. New York: Da Capo Press

Gottlieb, Sidney. Ed. Rossellini's Rome Open City. Cambridge: CUP

Gottlieb, Sidney. Ed. PDF Intro to Rossellini's Rome Open City. Cambridge: CUP

Hipkins Danielle. 'Francesca's Salvation or Damnation? Resisting recognition of the prostitute in Rossellini's Paisà (1946)', Studies in European Cinema, 3.2 (2006), 153-69.

Marcus, Millicent. 1986. Italian Film in the Light of Neorealism. Princeton: Princeton University Press

Muscio, Giuliana. ‘Paisa / Paisan’. Bertellini, Giorgio Ed. 2004. The Cinema of Italy. London: Wallflower Press

Nowell-Smith, Geoffrey. 2000. ‘North and South, East and West’: Rossellini and Politics. Forgacs, David , Lutton, Sarah and Nowell-Smith Geoffrey.Eds. Roberto Rossellini: Magician of the Real . London: BFI

Restivo, A. 2002. The Cinema of Economic Miracles: Visuality and Modernisation in the Italian Art Film. Durham and London: Duke University Press

Rohdie, Sam. 2000. ‘India’ Forgacs, David , Lutton, Sarah and Nowell-Smith Geoffrey.Eds. Roberto Rossellini: Magician of the Real. London: BFI

Rossellini, Roberto. The War Trilogy. Open City. Paisan. Germany-Year Zero. Edited and with an Introduction By Stefano Roncoroni. Translated from the Italian By Judith Green. NY: Grossman, 1973.

Shiel, Mark. 2006. Italian Neo Realism: Rebuilding the Cinematic City. London: Wallflower Press

Wagstaff, Christopher. 2000. ‘Rossellini and Neo-Realism’. Forgacs, David , Lutton, Sarah and Nowell-Smith Geoffrey.Eds. Roberto Rossellini: Magician of the Real . London: BFI



Dino Risi: 1916–2008

Dino Risi: (December 23 1916; died June 7 2008)

Dino Risi 3

Dino Risi

Introduction

Dino Risi had a long and illustrious career in Italian cinema. Risi was one of the foremost proponents of the genre which came to be known as 'Comedy - Italian Style'. risi worked with many leading Italian movers and shakers in the film industry including: producers such as Carlo Ponti; scriptwriters such as Zavattini, and Ettore Scola; actors such as Sophia Loren, Vittorio de Sica, Marcello Mastroianni,Monica Vitti and Jean-Louis Trintignant.

Working with luminaries such as Alberto Lattuada initially, it was 1956 when Risi made his first film entirely under his own steam. Poor but Beautiful (1956) marked the shift in Italian cinema from neo-realism to comedy. Despite his prolific output there is little written on him according to the bibliographical section of Bondanella's history of Italian Cinema. This may be because so much work has been focused upon neorealism, however as Hipkins notes in her introduction to a course on Comedy - Italian Style:

Picking up on elements of the post-war movement's social critique and combining them with comic techniques, a series of directors managed to satirize the Italy of the economic miracle in a genuinely popular form of cinema. Despite its success, both artistically and at the box office, Comedy - Italian Style is little known abroad and all too rarely studied.

Luigi Comencini was the other main director of these type of films at the time, and they have continued to be made up until the present notes Bondanella (p 89). The genre was highly dependent upon an effective start system and Risi worked with many of these actors who were good at comedy although some may be surprised to see names such as Monica Vitti in these ranks.


Il Sorpasso (The Easy Life,1962) was very popular. It has a picaresque narrative structure using adventures on a drive from Rome to Viareggio to elpore the changing nature of Italian values during the years of the great 'economic miracle'. Vittorio Gassman is obsessed with his car and is a symbol of the over-inflated economy whiclst Jean-Louis Trintignant is a more introverted and intellectual type of personality. The crash which kills the Trintignant character symbolises the dangers just under the surface of the exuberant economy.


The following year Risi produced another popular comedy I Mostri ( The Monsters, 1963), composed of 20 sketches Risi parodies a range of Italian sterotypes who symbolise the type of people who are running Italain society for their own gratification. (One might ask what has changed with Berlusconi's return to power in 2008)

In 1977 I nuovi mostri (The New Monsters) is another episodic work by Risi, Monicelli and Scola in a similar but more bitter vein than the earlier one as Italy has become increasingly violent. A man in the street sees a stabbing but ignores it becuase he is concerned with the quality of cheese on his Pizza for example. Often comedy can provide a powerful politicsal commentary upon society and Risi made films in this tradition. Hopefully more of them will become available now in the UK.

Return to Italian directors hub page


Filmography (for full Credits go to the RAI site)

Vacation With a Gangster (Vacanze col gangster) (Italy, 1951)
Director: Dino Risi, script: Dino Risi

Viale della speranza (Italy, 1952)
Director: Dino Risi, script: Dino Risi

Paradiso per quattro ore – Segment of "Amore in città" (Paradiso per quattro ore – Episodio di "Amore in città") (Italy, 1953)
Director: Dino Risi, script: Cesare Zavattini


Il segno di Venere (Italy, 1954)
Director: Dino Risi, script: Dino Risi, Ennio Flajano, Valeri, Cesare Zavattini, featuring: Vittorio De Sica, Sophia Loren, Alberto Sordi, Peppino De Filippo

The Sign of Venus (Pane, amore e…) (Italy, 1955) Director: Dino Risi, script: Dino Risi

Poor but Beautiful (Poveri ma belli) (Italy, 1956)
Director: Dino Risi, script: Dino Risi

Poor Girl, Pretty Girl (Belle ma povere) (Italy, 1957)
Director: Dino Risi, script: Dino Risi, Pasquale Festa Campanile, Massimo Franciosa

Oh! Sabella (La nonna Sabella) (Italy, 1957)
Director: Dino Risi, script: Dino Risi, Pasquale Festa Campanile, Massimo Franciosa, Ettore Giannini

Poor Millionaires (Poveri Milionari) (Italy, 1958)
Director: Dino Risi, script: Dino Risi, Pasquale Festa Campanile, Massimo Franciosa

Venice, the Moon and you (Venezia, la luna e tu) (Italy, 1958)
Director: Dino Risi, script: Dino Risi, Pasquale Festa Campanile, Massimo Franciosa
Director: Dino Risi, script: Etttore Scola, Alessandro Continenza, Ruggero Maccari

Il vedovo (Italy, 1959)
Director: Dino Risi, script: Dino Risi, Fabio Carpi, Rodolfo Sonego

Love in Rome (n amore a Roma) (Italy, 1960)
Director : Dino Risi, script: Ennio Flajano, Ercole Patti 

Behind closed Doors (A porte chiuse) (Italy, 1961)
Director: Dino Risi, script: Marcello Coscia, Dino De Palma, Sandro Continenza

A difficult life (Una vita difficile) (Italy, 1961)
Director: Dino Risi, script: Rodolfo Sonego, featuring: Franco Fabrizi, Claudio Gora, Alberto Sordi, Lea Massari

March on Rome (La marcia su Roma) (Italy, 1962)
Director: Dino Risi, script: Age, Furio Scarpelli, Ruggero Maccari, Ettore Scola, featuring: Vittorio Gassman, Ugo Tognazzi, Giampiero Albertini, Nando Angelini

The Easy Life (Il sorpasso) (Italy, 1962)
Director: Dino Risi, script: Dino Risi, Ettore Scola, Ruggero Maccari, featuring: Vittorio Gassman, Catherine Spaak, Jean Louis Trintignant, Nando Angelini

The Thursday (Il giovedì) (Italy, 1963)
Director: Dino Risi, script: Dino Risi, Castellano, Pipolo


15 from Rome (I mostri) (Italy, 1963)
Director: Dino Risi, script: Age, Furio Scarpelli, Ruggero Maccari, Ettore Scola

The Success (Il successo) (Italy, 1963)
Director: Dino Risi, Mauro Morassi, script: Ruggero Maccari, Ettore Scola


La telefonata – Segment of  "Four Kind of Love" ( La telefonata – Episodio de "Le bambole")
(France/Italy, 1964)
Director: Dino Risi, script: Rodolfo Sonego

The Gaucho (Il Gaucho) (Italy, 1964)
Director: Dino Risi, script: Dino Risi, Tullio Pinelli, Ruggero Maccari, Ettore Scola

Una giornata decisiva – Segment of "The complexes" (Una giornata decisiva – Episodio de "I complessi") (France/Italy, 1965)
Director: Dino Risi, script: Marcello Fondato, Ettore Scola, Ruggero Maccari

Weekend, Italian, Style (L'ombrellone) (France/Italy, 1965)
Director: Dino Risi, script: Dino Risi, Ennio De Concini

Il marito di Attilia – Segment of "I nostri mariti" (France/Italy, 1966)
Director: Dino Risi, script: Age, Furio Scarpelli, Stefano Strucchi

Treasure of San Gennaro (Operazione San Gennaro)
(Italy, 1966)
Director: Dino Risi, script: Nino Manfredi, Ennio De Concini

Kill Me with Kisses (Straziami, ma di baci saziami) (Italy, 1966)
Director: Dino Risi, script: Age, Furio Scarpelli

The Prophet (Il profeta) (Italy, 1967)
Director: Dino Risi, script: Dino Risi, Ruggero Maccari, Ettore Scola

The Tiger and the Pussycat (Il tigre) (Italy, 1967)
Director: Dino Risi, script: Age, Furio Scarpelli

Normal Young Man (Il giovane normale) (Italy, 1969)
Director: Dino Risi, script: Dino Risi, Maurizio Costanzo, Ruggero Maccari

Vedo Nudo (Italy, 1969)
Director: Dino Risi, script: Iaia Fiastri, Ruggero Maccari

The Priest's Wife (La moglie del prete) (Italy, 1970)
Director: Dino Risi, script: Ruggero Maccari, Bernardino Zapponi, featuring: Sophia Loren, Marcello Mastroianni, Venantino Venantini, Gino Cavalieri

In The Name of The Italian People (In nome del popolo Italiano)
(Italy, 1971)
Director: Dino Risi, script: Age, Furio Scarpelli


Noi donne siamo fatte così (Italy, 1971)
Director: Dino Risi, script: Age, Furio Scarpelli, Rodolfo Sonego, Ettore Scola, featuring: Monica Vitti, Clara Colosimo, Filippo De Gara, Pupo De Luca

Dirty Weekend (Mordi e fuggi) (Italy, 1972)
Director: Dino Risi, script: Dino Risi, Ruggero Maccari, Bernardino Zapponi

How Funny Can Be Sex? (Sessomatto) (Italy, 1973)
Director: Dino Risi, script: Ruggero Maccari, featuring


Scent of a Woman (Profumo di donna) (Italy, 1974)
Director: Dino Risi, script: Dino Risi, Ruggero Maccari, featuring: Vittorio Gassman, Alessandro Momo, Agostina Belli, Moira Orfei

Lost Soul (Anima persa)
(France/Italy, 1976)
Director: Dino Risi, scenegigatura: Dino Risi, Bernardino Zapponi

The Bishop's Bedroom (La stanza del vescovo)
(Italy, 1976)
Director: Dino Risi, script: Dino Risi, Leo Benvenuti, Piero Chiara, Piero De Bernardi

The Career of a Chambermaid (Telefoni Bianchi) (Italy, 1976)
Director: Dino Risi, script: Dino Risi, Ruggero Maccari, Bernardino Zapponi

The New Monsters (I nuovi mostri) (Italy, 1977)
Director: Dino Risi, Ettore Scola, Mario Monicelli, Claudio Risi, script: Age, Furio Scarpelli, Ettore Scola, Bernardino Zapponi, Ruggero Maccari, featuring: Vittorio Gassman, Ornella Muti, Alberto Sordi, Ugo Tognazzi

First Love (Primo amore) (Italy, 1978)
Director: Dino Risi, script: Dino Risi, Ruggero Maccari, featuring: Ornella Muti, Ugo Tognazzi, Riccardo Billi, Caterina Boratto

Dear Father (Caro papà) (Canada/France/Italy, 1979)
Director: Dino Risi, script: Dino Risi, Marco Risi, Bernardino Zapponi

Roma – Segment of "I seduttori della domenica" (Roma – Episodio de "I seduttori della domenica")
(France/Great Britain/USA/Italy, 1980)
Director: Dino Risi, script: Age, Furio Scarpelli, featuring: Ugo Tognazzi, Lino Ventura, Sylva Koscina, Rossana Podestà

I'm Photogenic (Sono fotogenico) (Italy, 1980)
Director: Dino Risi, script: Dino Risi, Marco Risi, Bernardino Zapponi, featuring: Edwige Fenech, Renato Pozzetto, Ugo Tognazzi, Vittorio Gassman

Ghost of Love (Fantasma d'amore) (France/Italy, 1981)
Director: Dino Risi, script: Dino Risi, Bernardino Zapponi, featuring: Marcello Mastroianni, Romy Schneider, Victoria Zinny, Michael Kroecher

Sesso e volentieri (Italy, 1982)
Director: Dino Risi, script: Dino Risi, Enrico Vanzina, Bernardino Zapponi, Laura Antonelli, Giuliana Calandra, Johnny Dorelli, Gloria Guida

Good King Dagobert (Dagobert) (France/Italy, 1984)
Director: Dino Risi, script: Dino Risi, Age, Gerard Brach

Madman at War (Scemo di Guerra) (France/Italy, 1985)
Director: Dino Risi, script: Dino Risi, Age, Furio Scarpelli, featuring: Beppe Grillo, Fabio Testi, Bernard Blier, Claudio Bisio

Il Commissario Lo Gatto (Italy, 1986)
Director: Dino Risi, script: Dino Risi, Enrico Vanzina, Carlo Vanzina


Teresa (Italy, 1987)
Director: Dino Risi, script: Dino Risi, Bernardino Zapponi, Graziano Diana

I'll Be Going Now (Tolgo il disturbo) (Italy, 1989)
Director: Dino Risi, script: Dino Risi, Beranrdino zapponi, Enrico Oldoini

Poor But Beautiful (Giovani e belli) (Italy, 1996)
Director: Dino Risi, script: Dino Risi, Bernardino Zapponi


Webliography

RAI Biography of Dino Risi

Guardian Obituary of Dino Risi

BBC News of Dino Risi's Death

Independent Obituary of Dino Risi

Reuters Report of death of Dino Risi

International Herald Tribune on Dino Risi's Death

New York Times on Dino Risi's Death

Independent Obit of Producer Carlo Ponti

Guardian Obit of Producer Goffredo Lombardo

Monica Bellucci had only been modelling for a few years when Italian director Dino Risi saw her photo in a magazine and hired her for her first film Vita Coi Figli



Where to Study Italian Style Comedy

"Comedy - Italian Style Exeter Uni "

Cambridge Uni (only a couple here)


Videography

Some of these are in Italian only



Extract from Il Sorpasso: Dino Risi (1962)

The Opening Credits from Il Sorpasso. The car driven by Vittorio Gassman is a fine looking Lancia Aurelia B24


Lancia Aurelia




Bibliography 


Vittorio de Sica

Vittorio de Sica


Return to Italian directors hub page 


Under Construction  


Filmography (Director). [Current listing is from IMDB but links are not] 

  1. Viaggio, Il (1974)
    ... aka The Journey (UK)
    ... aka The Voyage (USA)
    ... aka Voyage, Le (France)
  2. Breve vacanza, Una (1973)
    ... aka A Brief Vacation (USA)
    ... aka Amargo despertar (Spain)
    ... aka Vacaciones, Las
  3. Lo chiameremo Andrea (1972)
    ... aka We'll Call Him Andrew
  4. Cavalieri di Malta, I (1971) (TV)
    ... aka The Knights of Malta
  5. Dal referendum alla costituzione: Il 2 giugno (1971) (TV)
    ... aka From Referendum to the Constitution: June 2
  6. Coppie, Le (1970) (segment "Leone, Il")
    ... aka The Couples
  7. Giardino dei Finzi-Contini, Il (1970)
    ... aka The Garden of the Finzi-Continis (Canada: English title) (USA)
    ... aka Garten der Finzi Contini, Der (West Germany)
  8. Girasoli, I (1970)
    ... aka Fleurs du soleil, Les (France)
    ... aka Sunflower (USA)

  9. Amanti (1968)
    ... aka A Place for Lovers (USA)
    ... aka Temps des amants, Le (France)
  10. Woman Times Seven (1967)
    ... aka Sept fois femme (France)
    ... aka Sette volte donna (Italy)
  11. Streghe, Le (1967) (segment "Sera come le altre, Una")
    ... aka Sorcières, Les (France)
    ... aka The Witches (USA)
  12. Caccia alla volpe (1966)
    ... aka After the Fox (UK) (USA)
  13. Un monde nouveau (1966)
    ... aka A New World
    ... aka A Young World
    ... aka Mondo nuovo, Un (Italy)
    ... aka Un monde jeune
  14. Matrimonio all'italiana (1964)
    ... aka Mariage à l'italienne (France)
    ... aka Marriage Italian-Style (USA)
  15. Ieri, oggi, domani (1963)
    ... aka Hier, aujourd'hui et demain (France)
    ... aka Yesterday, Today and Tomorrow (USA)
  16. Boom, Il (1963)
  17. Sequestrati di Altona, I (1962)
    ... aka Séquestrés d'Altona, Les (France)
    ... aka The Condemned of Altona (USA)
  18. Boccaccio '70 (1962) (segment "La riffa")
    ... aka Boccaccio '70 (USA)
    ... aka Boccace 70 (France)
  19. Giudizio universale, Il (1961)
    ... aka Jugement dernier, Le (France)
    ... aka The Last Judgement (USA)
  20. Ciociara, La (1960)
    ... aka Two Women (UK) (USA)
    ... aka Paysanne aux pieds nus (France)

  21. Anna di Brooklyn (1958)
    ... aka Anna of Brooklyn (UK)
    ... aka Fast and Sexy (USA)
  22. Tetto, Il (1956)
    ... aka The Roof
    ... aka Toit, Le (France)
  23. Oro di Napoli, L' (1954)
    ... aka Every Day's a Holiday
    ... aka The Gold of Naples (USA)
  24. Villa Borghese (1953)
    ... aka Amants de Villa Borghese, Les (France)
    ... aka It Happened in the Par
  25. Umberto D. (1952)
  26. Miracolo a Milano (1951)
    ... aka Miracle in Milan (USA)

  27. Ladri di biciclette (1948)
    ... aka Bicycle Thieves (UK)
  28. Cuore (1948) (children's scenes)
    ... aka Heart (International: English title)
  29. Sciuscià (1946)
    ... aka Shoe-Shine (USA)
  30. Porta del cielo, La (1945)
    ... aka The Gate of Heaven
  31. Bambini ci guardano, I (1944)
    ... aka The Children Are Watching Us (USA)
  32. Garibaldino al convento, Un (1942)
  33. Teresa Venerdì (1941)
  34. Maddalena, zero in condotta (1940)
  35. Rose scarlatte (1940)

Neorealism and Pure Cinema: Bicycle Thieves. Andre Bazin from the Trondheim University Theory Kit  site

RAI site De Sica Entry  

Bright Lights on The Garden of the Finzi-Continis  

UNESCO Tribute to De Sica  

Celli, Carlo 1963-. The Legacy of Mario Camerini in Vittorio De Sica's The Bicycle Thief (1948).  You will need Athens access to access this)

De Sica's "Bicycle Thieves" and Italian Humanism Herbert L. Jacobson Hollywood Quarterly, Vol. 4, No. 1 (Autumn, 1949), pp. 28-33. (Again you will need institutional access to this JSTOR article)

Bibliography 

Vittorio De Sica: Contemporary Perspectives Toronto Italian Studies Edited by Howard Curle and Stephen Snyder
University of Toronto Press © 2000


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