Chronological/Timeline: Sophia Loren (Thalia) ”Spaghetti can be eaten most successfully if you inhale it like a vacuum cleaner.” I would know I ate a lot of spaghetti growing up in Italy. I was born September 20, 1934. My mother, Romilda Villani, was a piano teacher and aspiring actress, while my father was a construction engineer. During World War II we moved in with relatives. After the war we moved back and my grandma opened a pub in her living room. At age 14 I entered a beauty pageant. Even though i didn't win I was one of the finalists, I was told I should do acting. I started acting classes where I was chosen to be an extra in “Quo Vadis” which started my acting career. In 1961 I starred in Vittorio De Sica’s “Two Women”. I starred as a mother trying to protect her daughter in war-torn Italy. I …show more content…
It was one out of the five I've won. In the same year I was nominated for another, but didn't win. In 1994 “Ready to Wear” was rated 5 out 10 stars. I starred in it with a few others girls. The movie won the stinkers bad movie award. Robert Altman, the director, was asked, “What were you thinking?” after the movie came out. The next movie I starred in was “Grumpier Old Men” directed by Howard Deutch. The movie was about how two guys try and save their bait shop from becoming an Italian restaurant. The movie won a choice award in 1996. “Between Strangers” was a 6.2-star rated movie, made in 2002 directed by Edoardo Ponti, my son. The movie won a Genie award in 2003 for best achievement in overall sound. I played Olivia, one of the women who confronted her past to change her future. “Lives of the Saints”, made in 2004 and directed by Jerry Ciccoritti was a drama, rated 7.2 stars, won 3 awards and was nominated for 5. I'm currently still making appearances on tv and in movies. I have recently won awards, such as a legend award. I have two kids, Edoardo Ponti, the director, and Carlo Ponti, an orchestra
Florence Mills a Pioneer of The Silver Screen. Florence Mills never had a memorial in her own nation, but the tiny country of Grenada recently issued a stamp in her honor. It was part of a set as a tribute to pioneers of the silver screen. The stamp illustrated a poster from the Palace Theatre, the place to be for top vaudeville performances. Florence never actually made it to the big screen, but was the first black star, male or female, to headline at the Palace.
To draw the conclusion, it can be effectively said that it is very difficult to incorporate the ideas contained in books into films, especially when one has to prove some theory. Pasolini has done it successfully by incorporating his film theory contained in the book Heretical Empricism into the film Mamma Roma. Pasolini’s creativity is an integral part of the classical art. He gave his life to change the world for the better through his films. He has not only presented his socialistic thoughts in the film, but also included religious motifs of Christianity to show the plight of a woman in this materialistic society. The development of unforgettable emotions and memories are guaranteed in return. Modern society should know and remember the
Film making has gone through quite the substantial change since it’s initial coining just before the turn of the 19th century, and one would tend argue that the largest amount of this change has come quite recently or more so in the latter part of film’s history as a whole. One of the more prominent changes having taken place being the role of women in film. Once upon a time having a very set role in the industry, such as editing for example. To mention briefly the likes of Dede Allen, Verna Fields, Thelma Schoonmaker and so forth. Our female counterparts now occupy virtually every aspect of the film making industry that males do; and in many instances excel past us. Quite clearly this change has taken place behind the lens, but has it taken
Works Cited Cowie, Elizabeth. A. A. Representing the Woman: Cinema and Psychoanalysis. Minneapolis, MN -. University of Minnesota Press, 1997.
Kane, Kathryn. Visions of War: Hollywood Combat Films of World War II. Ann Arbor: UMI Research Press, 1982.
Bondanella, Peter. (2009), A History of Italian Cinema, NY, The Continuum International Publishing Group Inc.
As we traverse through time and history the world goes through many different phases; some of these phases have no similarity to the last and some overlap with one another. One of the phases Italian cinema went through was Neorealism. Like everything else, every phase comes to an end. Vittorio De Sica’s Umberto D was considered the moving away from Neorealism in Italian cinema history. Umberto D did, however, carry aspects of neorealism just as Bicycle Thief, also by Vittorio De Sica, does during the prime of Neorealism.
While the film focuses mainly on the theme of media responsibility and covers US’s politics in the early 1950s, it also encircles around other crucial themes such as sexism. This essay discusses about how this film is used as a tool for objectivity, agenda setting, stereotyping within gender, and how these has impacted the characters in the movie and viewers.
Classic narrative cinema is what Bordwell, Staiger and Thompson (The classic Hollywood Cinema, Columbia University press 1985) 1, calls “an excessively obvious cinema”1 in which cinematic style serves to explain and not to obscure the narrative. In this way it is made up of motivated events that lead the spectator to its inevitable conclusion. It causes the spectator to have an emotional investment in this conclusion coming to pass which in turn makes the predictable the most desirable outcome. The films are structured to create an atmosphere of verisimilitude, which is to give a perception of reality. On closer inspection it they are often far from realistic in a social sense but possibly portray a realism desired by the patriarchal and family value orientated society of the time. I feel that it is often the black and white representation of good and evil that creates such an atmosphere of predic...
the GLAAD Media Award for Outstanding Films and 27 nominations.(Wikipedia, Boys Don't Cry,2014) "Boys Dont Cry" did receive great awards and nomination but also received extreme controversy.
Since the war began women were led to believe that they were the ones who had to be the patriotic sacrifice until the men came home from war. The film reveals how the government used the media to alternately urge women to give up such elements of their feminin...
An obvious difference in these films is that the 1931 version played to a Depression audience and that the Coppola version played to a modern audience. (I am being extremely careful because, obviously, the 1931 audience was modern in 1931; however, we like to think of ourselves as being more modern than past generations. There are differences in the audiences which viewed the respective versions in their time, and I hope to prove this point as the paper unfolds.)
Pick, Zuzana M. "An Interview with Maria Luisa Bemberg." Journal of Film and Video 44. 3-4 (Fall-Winter 1992-93): 76.
In the article “Visual Pleasure and Narrative Cinema,” Laura Mulvey discusses the relationships amongst psychoanalysis (primarily Freudian theory), cinema (as she observed it in the mid 1970s), and the symbolism of the female body. Taking some of her statements and ideas slightly out of their context, it is interesting to compare her thoughts to the continuum of oral-print-image cultures.
Women’s roles in movies have changed dramatically throughout the years. As a result of the changing societal norms, women have experienced more transition in their roles than any other class. During the period of classical Hollywood cinema, both society and the film industry preached that women should be dependent on men and remain in home in order to guarantee stability in the community and the family. Women did not have predominated roles in movies such as being the heroin. The 1940’s film Gilda wasn’t an exception. In Gilda, the female character mainly had two different stereotypes. The female character was first stereotyped as a sex object and the second stereotyped as a scorned woman who has to be punished.