Are Killer Whales Aggressive Or Do They Fight

I TYPOGRAPHICAL FILM POSTERS - THE COLLECTION OF ITALIAN FILM LIBRARY FOUNDATION 1919-1939

Authors: Roberto Della Torre and Elena Mosconi (ed.) Publisher: Il Castoro, Milano, 2001 Collection: Il Castoro Cinema Pages: 158 Size: 17x24 Price: € 14 Language: Italian

Index: Abstract Elena Mosconi and Roberto Della Torre The poster along the streets of cinema Fabio Radaelli The poster typography: structure and functions of Roberto Della Torre advertising and billboards Roberto Della Torre card. Profile of a cinema: the film X Giulia Marcora The film show Gianluca Casadei card. Between cinema and variety: Anna Fougez and Polidor Gianluca Casadei "Sublime interpretation of ...": forays into stardom through posters typographical Milan Raffaele De Berti card. A star-author: Lucio D'Ambra Stefania Mignoli Gender and communication practices: the verbal text of the posters and text structures of gender Robert Marasco card. The kind of historical posters typographical Savinia Colombo between the public and film posters Elena Mosconi chat with the exhibitors. Interview with Ambrose and Moro Ulderico Bonfanti Roberto Della Torre The experience of the viewer through the postcards of the Central Cinema Francesco Casetti traces of modernity in the postcards of the cinema of Central Lorena Iori Glossary Clipboard Stock

During the seventies the Italian film libraries open, between wonder and admiration , a substantial acquisition of materials of very different origins and disparate filmic: photo archives, private funds, records of soundtracks and posters, diaries and letters. The same equation cinema film, already in the form not exactly brilliant, suffers a crucial flaw. In this context, the Italian Film Library, semi-private institution funded by the Milan group of current (Rognoni, the Comencini, Lattuada, Luigi Veronesi, etc..) acquired an important collection of 120,000 posters not shown on the programming of more than 150 city halls from 1919 to 1939. How is the whole film show in Milan two decades. Unfortunately, the materials acquired from the film archives have not filmed life poor, are condemned as such are removed from the dusty shelves in the best case scenario for an exhibition. Unless you have the good fortune to attract the interest of a research team that, as in this case, the Catholic University, determining the historical value and provide an appropriate enhancement. All entrusted to the leadership of Elena Mosconi and Roberto Della Torre, two experts from different perspectives (researcher and archivist she him) to show and film spectatorship, and composed of graduate students and doctoral candidates. posters printing, especially if collected in such a wide bottom, are a silver key for navigating the passages of local history, not to mention the fruitful detours that a careful analysis allows us to glimpse (as demonstrated by Raffaele De Berti and Roberta Marasco). Thus, in a complex web of market laws and self-representation, the posters are made plural and polysemic source, mirror unfaithful and precious resource. Game of interpretation and reinterpretation, then, requires skilled hands, perhaps at times more than those of young researchers of the Catholic Church. The volume remains, even with its fall due more to the lack of consistency of some interventions (including the Mosconi cumbersome paper) than to a lack comprehensive, unique, and for printing the posters - of course - that experimentalism of a work built around a collection parafilm, used as a crowbar to force more of an outpost (the public, but also genres, the publicist, the star system, legislation and practice). In Appendix Francesco Casetti and, even better, Loretta Iorio analyze beautiful postcards of the Central Cinema, the legendary hall of the Gallery. Joseph Fidotta