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LE CINEMA Garzantine

Authors: Gianni Canova (ed.) Publisher: Garzanti, Milano, 2009 Collection: The Garzantine Pages: 1582 Size: 14 x 21 Price: € 39 Language: Italian

Index : Abstract Dictionary of Film - Film directors, actors, scriptwriters, set designers, costume designers and composers, genres and current critical and historical homes production, festivals, schools, magazines; theories, techniques, languages \u200b\u200b Appendices Film Awards - Oscar - International Exhibition of the Venice Film - Cannes Film Festival depth cards (in the corpus of the Dictionary ) - Dozens of items Tables outside the text Index of names

twenty-first century. The years of internet, wikipedia, google, which scans books and makes them available for free consultation. 2009. The third edition of the Cinema Garzantine . Operation extraordinarily courageous, in line with what the publishing house in Milan has been doing all these years. Today, that knowledge seems more and more entrusted to the network and especially a means of popular culture like the cinema seems to fit perfectly to the media that is depopulated on the other, Gianni Canova remains convinced of the necessity of an encyclopedia on film paper. It is not wrong at all. His most powerful weapon against the free update and immediacy of the Internet? Accuracy. Many websites, either because they are often managed as a hobby and passion, because it seems to want a website you can forgive blunders and omissions, they are very deficient this point of view. Canova and his collaborators, from edition to edition, review, correct and build upon thousands of items of their word list, now at an altitude of 6500 definitions. Without the claim, for obvious reasons, to complete, but with the aim of providing a navigation map to the reader who wanders in that vast sea that is the world cinema of all kinds, country and time. Be careful, you will not find in the film only Garzatina . Cinema at 360 °, by gender, the workforce, the criticism of the technical terms and theories. In order to provide the user real time-space coordinates dedicate the last pages of the volume cinematic history: each year since its inception, the authors make a brief selection of major events (from different points of view: awards, technological innovations, the birth of film genres or current) and restore it in chronological order. Orientation, as Canova says in the introduction, as always Eurocentric, but without forgetting the existence of cinema other than those that have always made the figure of the lion. Dictionaries and encyclopedias there have always been accustomed to a quality paper really saving for weight and grain: beautiful Garzantine browse and remember the classic exception confirming the rule. Michelangelo Pasini