Film dei telefoni bianchi

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film dei telefoni bianchi

Telefoni Bianchi films were made in Italy in the s in imitation of American comedies of the time. For example, there would be expensive Art Deco sets.

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As a reaction to the popular mainstream films that dominated the Italian film industry in the s and s Italian Neorealism arose, followed by other more realistic film making approaches. The popular White telephone films Cinema dei telefoni bianchi produced shortly before WW2 imitated American comedies and melodramas telling stories which were in line with the ideology of the fascist regime. Showing the upper class life in Italy with all its bourgeois wealth and modern decor this film genre received the denomination Telefoni Bianchi referring to the frequent appearance of white telephones as status symbols at a time when common people, if at all, had black telephones. Telefoni Neri Black Telephones is a video essay on Italian cinema between the s and s that features black telephones instead of white ones — a kind of cinema that tells stories about deeply troubled protagonists who are utterly incapable of comunicating with each other and appear to be all alone in the haunted house that represents their inner self. Menu Search. More stuff. Please enable JavaScript to experience Vimeo in all of its glory.

Se per tutti gli anni '30 le fidanzatine di Assia Noris hanno spopolato nel cinema autarchico, alla fine del decennio il pubblico ha fame di volti dal sapore internazionale. Complice anche il blocco delle importazioni di film americani sancito dalla Legge Alfieri, le nuove star italiane si trovano di colpo a dover surrogare quelle hollywoodiane nei cuori degli spettatori. L'anno successivo ottiene una porticina nel capolavoro del regista romano Il signor Max , tuttavia il suo ruolo viene quasi completamente eliminato in fase di montaggio. Bionda sottochiave e le altre commedie dei telefoni bianchi Nel arriva il primo ruolo da protagonista per l'attrice livornese, quando viene scelta da Camillo Mastrocinque per interpretare il personaggio di Annetta in Bionda sottochiave. Grazie alla sua interpretazione maliziosamente auto-ironica, la Gioi si impone subito come la Carole Lombard italiana. Appare, infatti, in Rose scarlatte , l'esordio alla regia dell'ex amante De Sica , mentre offre una convincente performance in Dopo divorzieremo di Nunzio Malasomma , al fianco di Amedeo Nazzari e Lilia Silvi.

For example, there would be expensive Art Deco sets featuring white telephones status symbol of bourgeois wealth and generally unavailable to the movie-going public , and children would have Shirley Temple curls. The films tended to be socially conservative, promoting family values, respect for authority, a rigid class hierarchy, and country life, all stances perfectly in line with the ideology of the fascist regime. The genre is also referred by modern film critics as "Hungarian style comedies", because they were often adaptation of stage plays of Hungarian authors a popular source material also for Hollywood productions of the time. In fact, to avoid the limitations imposed by the censure of the fascist authorities, when potentially controversial topics were addressed in the plot for instance divorce, at the time illegal in Italy, or adultery, a punishable offence by the contemporary Italian law the action was often set in various, and sometimes imaginary, Eastern European countries, but always with Italian protagonists. The Neorealist filmmakers saw their gritty films as a reaction to the idealized Telefoni Bianchi style.

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For example, there would be expensive Art Deco sets featuring white telephones status symbol of bourgeois wealth and generally unavailable to the movie-going public , and children would have Shirley Temple curls. The films tended to be socially conservative, promoting family values, respect for authority, a rigid class hierarchy, and country life, all stances perfectly in line with the ideology of the fascist regime. The genre is also referred by modern film critics as "Hungarian style comedies", because they were often adaptation of stage plays of Hungarian authors a popular source material also for Hollywood productions of the time. In fact, to avoid the limitations imposed by the censure of the fascist authorities, when potentially controversial topics were addressed in the plot for instance divorce, at the time illegal in Italy, or adultery, a punishable offence by the contemporary Italian law the action was often set in various, and sometimes imaginary, Eastern European countries, but always with Italian protagonists. The Neorealist filmmakers saw their gritty films as a reaction to the idealized Telefoni Bianchi style. They compared and contrasted the high-and-almighty gimmicks of set and studio production, with the dishevelled beauty of everyday life, the rigorous depiction of human life and its sufferings, and chose instead to work on location and with non-professional actors. Girish Mahajan Editor Im a travel junky who loves to gain knowledge coz u know knowledge is power.



Telefoni Bianchi

Gli anni trenta sono caratterizzati principalmente da due filoni: il cinema di propaganda e il "cinema dei telefoni bianchi". Del primo sottogenere esistono fortunatamente pochi esemplari. -

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Cinema italiano degli anni '30

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FILMADRID & MUBI: The Video Essay—“Telefoni Neri”

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Ma non e una cosa seria e un film del , diretto dal regista Mario Camerini girato negli studi Cines e Caesar. Vivien Diesca e il nome della debuttante Vivi Gioi. Voci correlate[modifica | modifica wikitesto]. Cinema dei telefoni bianchi.
on the road in italiano

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