lunedì 31 agosto 2015
Sarà presentato l'8 settembre presso l'Hotel Excelsior, nello spazio dell'Ente dello Spettacolo, il nuovo numero di "Bianco e Nero", trimestrale del Centro Sperimentale di Cinematografia
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La programmazione di settembre al cinema Trevi
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"Doc. In Arte", eventi di domani 1 settembre allo Spazio Cinelab dell'Isola del Cinema a Roma
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In libreria "Pane, film e fantasia", di Laura Delli Colli
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Addio a Wes Craven, il signore degli incubi
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Giovanni Grazzini - Disciplina e metodo
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Mrs Johnstone: Tell me It's not true
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sabato 29 agosto 2015
Sette piccoli film che parlano di musica e ne fanno uno solo (libri)
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venerdì 28 agosto 2015
I Minions invadono Roma Est
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giovedì 27 agosto 2015
Love is in the Air - Turbolenze d'amore
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Forse che sì, forse che no: per una rilettura gender di True Detective
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mercoledì 26 agosto 2015
Marion Cotillard on Getting into Character for Two Days, One Night
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Molto rumore per nulla.
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Grande Attesa per il Reality Show del Meridione
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martedì 25 agosto 2015
Marvel's Daredevil (2015)
“Not everyone deserves a happy ending.” — Matt Murdock
A city bleeds and a hero is born.
Elastic’s main titles for Daredevil — Marvel’s hardboiled foray into the world of episodic on-demand television — announce the series in grand fashion. Viewers are introduced to the violent, murky New York City that blind lawyer slash masked vigilante Matt Murdock calls home. An insidious, corrupting force is set upon the world, seeping out into the city, blood red, trickling down from the highest towers like hot wax, drowning the streets below. It’s there that a figure emerges — the Devil of Hell’s Kitchen — shaped by the city, formed by all that fear and ill intent — a part of it but compelled to oppose it.
Echoing the sloshing Chianti of Hannibal’s all-too-brief main titles and the raging black ooze of The Girl with the Dragon Tattoo, Daredevil’s blood-soaked opener serves as memorable calling card for the series. John Paesano’s minimalist main title track also leaves an indelible mark, the melancholy notes of a piano – like the show’s hero – are an island in a sea of darkness. Head bowed, horns out, a great weight washing over his shoulders. Good, bad, or something in between, this place makes you what you are.
A discussion with Elastic Creative Director PATRICK CLAIR, Illustrator/Designer YI-JEN LIU, CG Lead ANDREW ROMATZ and Fluids Lead MIGUEL A. SALEK.
First of all, congrats on the Emmy nominations for Daredevil and Halt and Catch Fire! Are you rooting for one or the other?
Patrick: We love them both. They were both made in such different ways at such different times. Halt and Catch Fire was created with a really small team, and it was a very creative design process with lots of iterations between me and Eddy Herringson. Daredevil was much more epic.
I directed that with the CGI…
RSS & Email Subscribers: Check out the full Marvel's Daredevil article at Art of the Title.
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lunedì 24 agosto 2015
Dead man talking
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Roma, Isola del cinema: domani, 25 agosto, il corto Sugar Plum Fairy e il film Non escludo il ritorno
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'LOVE IS IN THE AIR' - ANTEPRIME MILANESI il 24, 25 e 26 agosto
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Il Centro Sperimentale di Cinematografia partecipa a "Riflessi di Tempo" Rassegna d'Arte Cinematografica Agrigentina
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venerdì 21 agosto 2015
Mission: Impossible - Rogue nation
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giovedì 20 agosto 2015
mercoledì 19 agosto 2015
Ant-man
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The gallows
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L'A.S.S.O. nella manica
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martedì 18 agosto 2015
How he (mostly) got away with it: Matthew H. Bernstein on Preston Sturges
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Pee-wee's Playhouse (1986)
“You all remember what to do whenever anybody says the secret word, right?” — Pee-wee Herman
Since it debuted in 1986, Pee-wee's Playhouse, the loony, bewildering cloud cuckoo-land of a television show, has been hard to describe in the finite terms of our known world. Even after ample introduction to Paul Reubens' living firecracker character through a stage show, an HBO special, and Tim Burton's directorial debut Pee-wee's Big Adventure, the TV series felt like something holistically new, remarkably unlike anything before it. Dinosaurs live in the walls and every piece of Pee-wee Herman's furniture is alive. There are always new secrets to explore, more cartoons to watch, and fresh wishes to make. It was a colourful compendium of Saturday mornings, a part of your balanced breakfast, assuming the other part was a bowl with every sugary cereal mixed together. To quote the show’s loopy theme song, "you've landed in a place where anything can happen!"
So how the heck do you open that?
Coming in from the forest, you float by it all: Stop-motion animals living harmoniously in the groves surrounding Pee-wee's pad. A winking sphinx within earshot of a snowman. An out of control lawn, pink flamingos-style tchotchkes growing into their own Disneyland park. Puppetry, claymation, and whatever you'd call the animation of Pee-wee himself, the introduction to the Playhouse is a lush sensory exploration and explanation of the nonsensical dimension you are entering. And we haven’t even gotten to Cyndi Lauper singing about the kooky residents inside! Magic is here, in spite of mechanics, the motors, pulleys and winches all visible, and decorum creaks like a mechanical sign. It doesn’t make sense! It is a vortex, a mystery, its own anomaly, up is down, down is up, cats and dogs sharing vows. The walls expand indefinitely, which is a requirement since Pee-wee needs all that space to bounce off them.
Pee-wee's Playhouse had a murderers’ row of creatives on-board including artist Wayne White, underground cartoonist Gary Panter, visualists Prudence Fenton and Phil Trumbo, Devo's Mark Mothersbaugh, and even Rob Zombie as a production assistant, with Reubens chuckling at the steering wheel. The production was a sight to behold, a wicked brew of zine bric-a-brac, new wave pop, Bugs Bunny, and roadside mini-putt. A recipe for a beloved children's show, a cult phenomenon, and a legacy that is ready to relaunch itself with a new film helmed by the ridiculously appropriate John Lee, co-creator of Wonder Showzen. The introduction to Pee-wee's Playhouse had to establish all of this creative whimsy in a great sugary gulp of puppets, nonsense, and Pee-wee himself.
We speak to Senior Animation Producer PRUDENCE FENTON, Animation Director PHIL TRUMBO and Pee-wee Creator/Star PAUL REUBENS about the nutty undertaking.
Can you give us a bit of background on how you got involved with Pee-wee’s Playhouse?
Prudence: I worked for a company in the early ’80s called Broadcast Arts in New york. They were a stop-motion animation company, and they did the MTV IDs then. I think we did 73 MTV IDs. We did all kinds of commercials. We would go to all these agencies and tell them that they were only limited by their imagination. You can make…
RSS & Email Subscribers: Check out the full Pee-wee's Playhouse article at Art of the Title.
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lunedì 17 agosto 2015
venerdì 14 agosto 2015
ESTATE ROMANA: PROGRAMMA COMPLETO DAL 14 AL 20 AGOSTO
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Più divertimento di quanto la polizia non conceda
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giovedì 13 agosto 2015
Native Dancer al Gaeta Jazz Festival
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mercoledì 12 agosto 2015
Come ti rovino le vacanze
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martedì 11 agosto 2015
So these two English magicians walk into a library …
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MoliseCinema2015: atto finale
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Televisionarietà: "True Detective" stagione 2 - finale di stagione
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Broad City (2014)
“My biggest weakness is that I lose my purse a lot. But my biggest strength is that I always get it back.” — Ilana Wexler
Ink-vomiting letters, spinning breasts, exploding geometry: one never knows what to expect from the animated title sequences of Broad City. Artist Mike Perry had so many ideas ahead of his initial meeting with Ilana Glazer and Abbi Jacobson, the show's creators and stars, that one was not enough. So every episode of the Comedy Central series — returning for its third season next spring — offers the viewer a different sequence and a new glimpse into Perry’s limitless imagination.
“I wanted it to be big, bold, and weird,” Perry explains of his initial inspiration during our conversation with him. He highlights his exploration of color as a way to “vibrate the viewer.” His designs nail this goal, flashing fast and bright like a drug-fueled sprint through Times Square. The sequences, each a mere seven seconds long and set to the same percussive jingle, burst with energy as they present a new treatment of the show’s bubble-lettered logo. Though each sequence is different, their dual constants are Perry’s hand-drawn linework, loose and imperfect, and a seizuring neon palette punctuated with black and white. Before every episode this combination of form and color ignites like a perfect seven-second bomb, sweeping the viewer into Abbi and Ilana’s adventures amid the effervescent backdrop of New York City.
A discussion with Illustrator MIKE PERRY and Comedy Central Senior Designer & Animator JULIE VERARDI
Give us a little background on yourselves. Who are you?
Mike: I was born in Kansas City, Missouri, a child of the ’80s. I watched a lot of cartoons and always loved to draw. My mother got me this book Chuck Amuck and I drew every page in that book.
When I was in high school I wrote a few movie scripts. Not because I was interested in making a movie but because movies were in my vocabulary. I worked at Blockbuster Video where I was…
RSS & Email Subscribers: Check out the full Broad City article at Art of the Title.
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lunedì 10 agosto 2015
Meryl Streep and Jeremy Irons on The French Lieutenant’s Woman
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Babadook o l'horror come psicanalisi della mancata maternità.
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sabato 8 agosto 2015
MoliseCinema2015: quarta giornata
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ESTATE ROMANA : PROGRAMMA COMPLETO DAL 7 AL 13 AGOSTO
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venerdì 7 agosto 2015
MoliseCinema2015: intervista a Vishakha Singh
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MoliseCinema2015: terza giornata
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Sara' la versione italiana dell'Otello di Orson Welles, restaurata dalla Cineteca Nazionale, il film di pre-apertura della 72. Mostra Internazionale del Cinema di Venezia
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I nuovi talenti dell'horror italiano: Tiziano Cella
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Diari di Cineclub lancia la campagna “Salviamo la Biblioteca Barbaro”, per la salvaguardia del patrimonio culturale della Biblioteca del Cinema "Umberto Barbaro"
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giovedì 6 agosto 2015
Is there a blog in this class? 2015
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A Tropea il Premio Nazionale Raf Vallone
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New Talents Jazz Orchestra: Extempora a Gaeta
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Evento "Non escludo il ritorno: film e concerto" con Stefano Calvagna
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MoliseCinema2015: intervista a Melissa Anna Bartolini
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MoliseCinema2015: seconda giornata
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Roma, 11 agosto: l'attore Carlo Ferreri presenta 'Mauro c'ha da fare' all'Isola del Cinema di Roma
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New Talents Jazz Orchestra: Extempora a Gaeta
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mercoledì 5 agosto 2015
MoliseCinema2015: intervista a Edoardo Leo
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MoliseCinema2015: prima giornata
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Televisionarietà: "True Detective" stagione 2 - episodio 06 - 07
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martedì 4 agosto 2015
L'Archivio Nazionale Cinema d'Impresa del Centro Sperimentale di Cinematografia presenta su YouTube "La grammatica della massaia"
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Premio Special OFF al Roma Fringe Festival 2014 Giuseppe Mortelliti vince il Solo Performance Award al San Diego International Fringe Festival – California (USA)
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Laura Antonelli: vita di un'attrice moderna
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The Thomas Crown Affair (1968)
“What do you get for the man who has everything?” — Vicki Anderson
Famed designer Pablo Ferro offers a window into the high-flying life – and mind – of Thomas Crown (Steve McQueen), a wealthy businessman who enjoys competitive pursuits like polo, chess, car racing, and, of course, engineering daring bank robberies.
Using the multi-screen technique for which he would become famous, Ferro’s opening titles for The Thomas Crown Affair introduce viewers to the many sides of this story. From Crown’s double life of luxury and larceny, to the men he secretly employs and the woman who pursues him (Faye Dunaway), the titles establish all the players in this high stakes game of cat and mouse. Composer Michel Legrand’s theme “The Windmills of Your Mind,” a gorgeous ballad sung by Noel Harrison (son of Rex), lends the opening an air of melancholy, glamourizing Crown’s life while hinting at his unhappiness. The sequence also prepares the audience for the film’s many split-screen sequences, which Ferro designed and edited as well.
Originally brought on by director Norman Jewison to design the film’s logotype, Ferro was eventually hired to create a multi-screen sequence out of a key scene – the polo match – in an effort to reduce the overall runtime of the movie.
“I had…
RSS & Email Subscribers: Check out the full The Thomas Crown Affair article at Art of the Title.
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lunedì 3 agosto 2015
Watch those hands; or, Burt, Jean-Luc, and Bill come to Cinephile Summer Camp
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Sabina Guzzanti al CineCocktail di MareFestival Salina: "Viviamo in un Paese mafioso pieno di carogne"
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Roma, 5-9 agosto: all'Arena Pigneto gli "Scandali al sole. Estati in celluloide in vacanza e in città" di Ugo G. Caruso
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The Story of Film: An Odissey di Marc Cousins
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domenica 2 agosto 2015
Globe Theatre: Re Lear
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Alice Ricciardi al Gaeta Jazz Festival
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Estate Romana 2015: appuntamenti dal 31 luglio al 6 agosto
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