Author Archive for: ‘Gino Moliterno’
Cinematic Intertextuality and Comic Allusion in Giorgio Mangiamele’s Ninety Nine Per Cent
After rating little more than a curt mention in Australian cinema histories for several decades, Giorgio Mangiamele’s status as a pioneer of the Australian cinema has more recently come to receive greater recognition in a growing number of articles, both in print and online, as well as in documentaries like Nigel Buesst’s Carlton + Godard = Cinema (Australia 2003).[1] Not surprisingly, perhaps, …
Read MoreZarathustra’s gift in Tarkovsky’s The Sacrifice
Uploaded 1 March 2001 Tarkovsky with a photograph of the house from The Sacrifice not the foreknowledge of death but the project of seeing conscious life rescued from death defines and will atone for the human. [1] What has become perfect, everything ripe – wants to die! …But everything unripe wants to live: alas! [2] The Sacrifice as Testament “Death,” as Adrian Martin has …
Read MoreStupendous, Miserable City: Pasolini’s Rome
John David Rhodes, Stupendous, Miserable City: Pasolini’s Rome. Minneapolis, University of Minnesota Press, 2007. ISBN-13: 978-0-8166-4930-3 US$20.00 (pb) 240pp (Review copy supplied by University of Minnesota Press) Pasolini was born in Bologna and spent his early years in a number of northern Italian cities as the family followed the father around in his military postings. He eventually returned to study …
Read MoreThe Cinema of Economic Miracles: Visuality and Modernization in the Italian Art Film
Angelo Restivo, The Cinema of Economic Miracles: Visuality and Modernization in the Italian Art Film. Duke University Press, Durham and London, 2002 ISBN 0 8223 2799 6 212 pp US$18.95 (pb) (Review copy supplied by Duke University Press) Given all that has already been written about postwar Italian cinema, the question that inevitably arises in picking up yet another book …
Read MoreGiorgio Mangiamele’s Clay and the Beginnings of Art Cinema in Australia
“Clay…the least commercial work ever made in the history of cinema.”[1] Almost two decades ago Graeme Cutts quite rightly characterised Giorgio Mangiamele as “one of the forgotten directors of the Australian cinema” (Cinema Papers, 1992, p. 17). In the intervening years, Mangiamele has frequently scored a mention in the new standard histories that have appeared, and has now achieved his …
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