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Author: Enrico Ghezzi, Marco Giusti (eds.), Sergio Grmek Germans (with the collaboration of)
Publisher: Marsilio, Venice, 1980
Collection: Searches
Pages: 171
Size: 14.5 x 20.5
Price: € 16
Language: Italian | Index:
Kim Still, Robert Heller
Why Kim, Bruno Torri
Introduction
Looking for Kim
As Kim Arcalli place in the panorama of Italian cinema
Kim and fitters
will never be possible to remove assembly?
Kill the pig and mount it, Sergio Germani Grmek
Interviews and statements
- Tinto Brass
- Giulio Questi
- Bernardo Bertolucci
- Giuseppe Bertolucci
- Liliana Cavani
- Eriprando
Visconti - Salvatore Samperi
- Michelangelo Antonioni
- Ottavio Fabbri
- Italo Moscati
- Henry Medioli
- Arturo La Pegna
printing the day of death
Filmography
-
Feature Films - Short Films
- Projects
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Reading index helps to understand the depth of the operation in place in this volume: in fact, what better tribute to "mount (u) Kim sector" of a book constructed by combining various materials (which Arcalli excelled in art, as evidenced by the films he assembled for Giulio Questi)?
Thus, in addition to cutting essay, the historical-critical perspective and to film theory, we find the testimony of friends and fellow filmmakers: it is through the squint of this field-reverse of the portrait that emerges Arcalli as an artist, as a man and as a myth.
But there's more: as pointed out repeatedly the same editors, Kim Arcalli. Mount the film is a montage arbitrary fragments of the above, which provisional programmatic aims to provide the user the opportunity to build a custom location.
You may prefer the humble genius artist retiring, or the excesses of a larger than life character ; dell'agiografia beyond, the book can be regarded as a practical guide to the vision (especially in view of the precious section Filmography "rational") or an attempt to apply the paradigms of political cinema to the author's gender and Italian sessantesco settantesco.
Essentially we are faced with a kind of "choose your own adventure book" disguised as a special feature, a hyperfiction whose best quality, in my view, is to encourage the cinephile to make films, not only at him.
Michael Guarneri
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