Don Camillo must contend with Don Chichi, a young priest sent by the Vatican, who is determined to install the entirety of the recent Ecumenical Council's reforms in twenty-four hours. At the same time, he faces more trouble when his niece, Flora, whom he has not seen since infancy and who has blossomed into a flower child, appears on the rectory doorstep with a clutch of Italian Hell's Angels.
Cinema has been long associated with France, dating back to 1895, when Louis and Auguste Lumi_re screened their works, the first public viewing of films anywhere. Early silent pioneers Georges MZli_s, Alice Guy BlachZ and others followed in the footsteps of the Lumi_re brothers and the tradition of important filmmaking continued throughout the 20th century and beyond. In Encyclopedia of French Film Directors, Philippe Rège identifies every French director who has made at least one feature film since 1895. From undisputed masters to obscure one-timers, nearly 3,000 directors are cited here, including at least 200 filmmakers not mentioned in similar books published in France. Each director's entry contains a brief biographical summary, including dates and places of birth and death; information on the individual's education and professional training; and other pertinent details, such as real names (when the filmmaker uses a pseudonym). The entries also provide complete filmographies, including credits for feature films, shorts, documentaries, and television work. Some of the most important names in the history of film can be found in this encyclopedia, from masters of the Golden Age_Jean Renoir and RenZ Clair_to French New Wave artists such as Fran_ois Truffaut and Jean-Luc Godard.
Don Camillo s Dilemma
Author: GIOVANNI. GUARESCHI
Publisher: Pilot Film & Television Productions Limited
Reading Giovanni Guareschi's stories about the little world between the Great River and the Mountains, is to travel to the Emilia-Romagna in northern Italy, and to do so in the incomparable company of a cast of characters which testifies to the exquisite humour and humanity of their creator. Place and people are as one: 'The river country of the little world created them;' the author wrote. 'I crossed their path, linked their arms with mine and made them run through the alphabet, from one end to another.' The year is 1953. All is peaceful in the village we know so well. The people are cheerful and friendly, and exercise their famous sense of humour. But the national elections hang like a shadow over proceedings. The Soviet Union is the West's No. 1 enemy and the Vatican has issued its famous 'Decree against Communism', which makes voting communist a mortal sin. No.6 in the Don Camillo series provides the sharpest real-life context yet for the often hilarious feud between the battling village priest and the communist Mayor, Peppone. Although, as ever, the author's message as to what truly lies at the heart of being human is for all times and peoples. 'These haunting stories about this haunting place... Somehow Guareschi made people laugh at their own predicament at a time when humour was sorely needed.' BBC Radio 4
Italian cinema triumphed globally in the 1960, with directors such as Rossellini, Fellini, and Leone, and actors like Sophia Loren and Marcello Mastroianni known to audiences around the world. But by the end of the 1980s, the Italian film industry was all but dead. The Rise and Fall of the Italian Film Industry traces the rise of the industry from its origins in the 19th century to its worldwide success in the 1960s, and its rapid decline in the subsequent decades. It does so by looking at cinema as an institution – subject to the interplay between the spheres of art, business, and politics at the national and international level. By examining the roles of a wide range of stakeholders (including film directors, producers, exhibitors, the public, and the critics) as well as the system of funding and the influence of governments, author Marina Nicoli demonstrates that the Italian film industry succeeded when all three spheres were aligned, but suffered and ultimately failed when they each pursued contradictory objectives. This in-depth case study makes an important contribution to the long-standing debate about promoting and protecting domestic cultures, particularly in the face of culturally dominant and politically- and economically-powerful creative industries from the United States. The Rise and Fall of the Italian Film Industry will be of particular interest to business and economic historians, cinema historians, media specialists, and cultural economists.