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Cinema of Italy

January 01, 1970

The cinema of Italy (Italian: cinema italiano, pronounced [ˈtʃiːnema itaˈljaːno]) comprises the films made within Italy or by Italian directors. Italy is one of the birthplaces of art cinema and the stylistic aspect of film has been one of the most important factors in the history of Italian film.[5][6] As of 2018, Italian films have won 14 Academy Awards for Best Foreign Language Film as well as 12 Palmes d'Or, one Academy Award for Best Picture and many Golden Lions and Golden Bears.

Cinema of Italy
A collage of notable Italian actors and filmmakers[a]
No. of screens3,217 (2013)[1]
 • Per capita5.9 per 100,000 (2013)[1]
Main distributorsMedusa Film (16.7%)
Warner Bros. (13.8%)
20th Century Studios (13.7%)[2]
Produced feature films (2018)[3]
Total273
Fictional180
Documentary93
Number of admissions (2018)[3]
Total85,900,000
 • Per capita1.50 (2012)[4]
National films19,900,000 (23.17%)
Gross box office (2018)[3]
Total€555 million
National films€128 million (23.03%)

The history of Italian cinema began a few months after the Lumière brothers began motion picture exhibitions.[7][8] The first Italian director is considered to be Vittorio Calcina, a collaborator of the Lumière Brothers, who filmed Pope Leo XIII in 1896. The first films were made in the main cities of the Italian peninsula.[7][8] These brief experiments immediately met the curiosity of the general public, encouraging operators to produce new films and laying the foundation for a true film industry.[7][8] In the early 20th century, silent cinema developed, bringing numerous Italian stars to the forefront.[9] In the early 1900s, epic films such as Otello (1906), The Last Days of Pompeii (1908), L'Inferno (1911), Quo Vadis (1913), and Cabiria (1914), were made as adaptations of books or stage plays. The oldest European avant-garde cinema movement, Italian futurism, emerged in the late 1910s.[10] After a period of decline in the 1920s, the Italian film industry was revitalized in the 1930s with the arrival of sound film. A popular Italian genre during this period, the Telefoni Bianchi, consisted of comedies with glamorous backgrounds. Calligrafismo was in sharp contrast to Telefoni Bianchi-American style comedies and is rather artistic, highly formalistic, expressive in complexity and deals mainly with contemporary literary material. While Italy's Fascist government provided financial support for the nation's film industry, notably the construction of the Cinecittà studios (the largest film studio in Europe), it also engaged in censorship, and thus many Italian films produced in the late 1930s were propaganda films.

The end of World War II saw the birth of the influential Italian neorealist movement, which reached vast audiences throughout the post-war period,[11] and which launched the directorial careers of Luchino Visconti, Roberto Rossellini, and Vittorio De Sica. Neorealism declined in the late 1950s in favour of lighter films, such as those of the Commedia all'italiana genre and directors like Federico Fellini and Michelangelo Antonioni. Actresses such as Sophia Loren, Giulietta Masina, Claudia Cardinale, Monica Vitti, Anna Magnani and Gina Lollobrigida achieved international stardom during this period.[12] From the mid-1950s to the end of the 1970s, Commedia all'italiana and many other genres arose due to auteur cinema, and Italian cinema reached a position of great prestige both nationally and abroad.[13][14] The Spaghetti Western achieved popularity in the mid-1960s, peaking with Sergio Leone's Dollars Trilogy, which featured enigmatic scores by composer Ennio Morricone, which have become icons of the Western genre. Italian thrillers, or giallo, produced by directors such as Mario Bava and Dario Argento in the 1960s and 1970s, influenced the horror genre worldwide. During the 1980s and 1990s, directors such as Ermanno Olmi, Bernardo Bertolucci, Giuseppe Tornatore, Gabriele Salvatores and Roberto Benigni brought critical acclaim back to Italian cinema.[12]

The Venice Film Festival is the oldest film festival in the world, held annually since 1932 and awarding the Golden Lion.[15] In 2008 the Venice Days ("Giornate degli Autori"), a section held in parallel to the Venice Film Festival, has produced in collaboration with Cinecittà studios and the Ministry of Cultural Heritage a list of a 100 films that have changed the collective memory of the country between 1942 and 1978: the "100 Italian films to be saved".

History edit

1890s edit

Video of Sua Santità papa Leone XIII ("His Holiness Pope Leo XIII"), the most famous film by Vittorio Calcina, the first Italian film director in history, shot on 26 February 1896[16]

The first Italian director is considered to be Vittorio Calcina, a collaborator of the Lumière Brothers, who filmed Pope Leo XIII on 26 February 1896 in the short film Sua Santità papa Leone XIII ("His Holiness Pope Leo XIII").[16] As the official photographer of the House of Savoy,[17] he filmed the first Italian film, Sua Maestà il Re Umberto e Sua Maestà la Regina Margherita a passeggio per il parco a Monza ("His Majesty the King Umberto and Her Majesty the Queen Margherita strolling through the Monza Park").[18] In 1895, Filoteo Alberini patented his "kinetograph," a shooting and projecting device not unlike that of the Lumière brothers.[12][19]

Video of Il finto storpio al Castello Sforzesco ("The fake cripple at the Castello Sforzesco") by Italo Pacchioni (1896)

The Lumière brothers commenced public screenings in Italy in 1896.[20][21] Italian Lumière trainees produced short films documenting everyday life and comic strips in the late 1890s and early 1900s. The success of the short films was immediate. Titles of the time include, Arrivo del treno alla Stazione di Milano ("Arrival of the train at Milan station") (1896), La battaglia di neve ("The snow battle") (1896), and La gabbia dei matti ("The madmen's cage") (1896), all shot by Italo Pacchioni, who also invented a camera and projector, inspired by the cinematograph of Lumière brothers.[22] Although the general public were enthusiastic, initially the technology was snubbed by intellectuals and the press.[23] However, on 28 January 1897, prince Victor Emmanuel and princess Elena of Montenegro attended a screening at the Pitti Palace in Florence.[24] Interested in experimenting with the new medium, they were filmed in Florence and on the day of their wedding in at the Pantheon in Rome.[25][26]

1900s edit

 
The logo of Cines, with the Capitoline Wolf in the centre

In the early 20th century, the phenomenon of itinerant cinemas developed throughout Italy.[27] The nascent Italian cinema, therefore, is still linked to the traditional shows of the commedia dell'arte or to those typical of circus folklore. Public screenings took place in the streets, in cafes or in variety theatres in the presence of a swindler who has the task of promoting and enriching the story.[28]

Between 1903 and 1909 the itinerant Italian cinema began assuming the characteristics of an authentic industry, led by four major organizations: Titanus (originally Monopolio Lombardo), the first italian film production company;[29] the largest and among the most famous film houses in Italy,[30] founded by Gustavo Lombardo at Naples in 1904, Cines, based in Rome; and the Turin-based companies Ambrosio Film and Itala Film.[21] Other companies soon followed in Milan, and these early companies quickly attained a respectable production quality and were able to market their products both within Italy and abroad. Early Italian films typically consisted of adaptations of books or stage plays, such as Mario Caserini's Otello (1906) and Arturo Ambrosio's 1908 The Last Days of Pompeii. Also popular during this period were films about historical figures, for instance Ugo Falena's Lucrezia Borgia (1910).

Video of La presa di Roma ("The Capture of Rome") by Filoteo Alberini (1905, six minute version)

In 1905, Cines inaugurated the genre of the historical film. One of the first of these films was La presa di Roma (1905), lasting 10 minutes, and made by Filoteo Alberini. The operator employs for the first time actors of theatrical origin. The film, assimilating Manzoni's lesson of making historical fiction plausible, reconstructs the Capture of Rome on 20 September 1870. Dozens of characters from texts make their appearance on the big screen such as The Count of Monte Cristo and Giordano Bruno, among others.[21]

1910s edit

 
Lost in the Dark by Nino Martoglio (1914), considered a precursor to the Italian neorealism movement of the 1940s and 1950s.[12]
 
Quo Vadis (1913), regarded as one of the first blockbusters in the history of cinema
 
Cabiria (1914), the first epic film ever made

In the 1910s, the Italian film industry developed rapidly.[31] In 1912, 569 films were produced in Turin, 420 in Rome and 120 in Milan.[32] Lost in the Dark (1914), a silent drama film directed by Nino Martoglio, documented life in the slums of Naples, and is considered a precursor to the Italian neorealism movement of the 1940s and 1950s.[12]

The archetypes of the historical blockbuster genre were The Last Days of Pompeii (1908), by Arturo Ambrosio and Luigi Maggi and Nero (1909), by Maggi and Arrigo Frusta.[33] Enrico Guazzoni's 1913 film Quo Vadis was one of the first blockbusters, using thousands of extras and a lavish set design.[34] The international success of the film marked the maturation of the genre and allowed Guazzoni to make increasingly spectacular films such as Antony and Cleopatra (1913) and Julius Caesar (1914). Giovanni Pastrone's 1914 film Cabiria was an even larger production; it was the first epic film ever made and it is considered the most famous Italian silent film.[31][35] Pastrone's plan to adapt the Bible with thousands of extras remained unfulfilled, but Antamoro's Christus (1916) and Guazzoni's The Crusaders (1918) were notable films with Christian subjects.

Many films were devoted to the investigative and mystery formats. The most prolific production houses in the 1910s were Cines, Ambrosio Film, Itala Film, Aquila Films, and Milano Films. Classic narrative elements of the silent proto-giallo (mystery, crime, investigation investigative and final twist) constitute the structural aspects of cinematic representation.

 
Cenere by Febo Mari (1917)

Between 1913 and 1920 there was the rise, development and decline of the phenomenon of cinematographic stardom, born with the release of Ma l'amor mio non muore (1913), by Mario Caserini. The film had great success with the public and encoded the aesthetics of female stardom. Within just a few years, Eleonora Duse, Pina Menichelli, Rina De Liguoro, Leda Gys, Hesperia, Vittoria Lepanto, Mary Cleo Tarlarini and Italia Almirante Manzini established themselves. Films such as Fior di male (1914), by Carmine Gallone, Il fuoco (1915), by Giovanni Pastrone, Rapsodia satanica (1917), by Nino Oxilia and Cenere (1917), by Febo Mari, changed the model away from naturalism in favor of melodramatic acting, pictorial gesture and theatrical pose, all favored by the extensive use of close-up.[36][37]

The most successful comedian in Italy was André Deed, better known in Italy as Cretinetti, star of comic short film for Itala Film. Its success paved the way for Marcel Fabre (Robinet), Ernesto Vaser (Fricot) and many others. Ferdinand Guillaume became famous with the stage name of Polidor.[38] Protagonists of Italian comedians never place themselves in open contrast with society or embody the desire for social revenge (as happens for example with Charlie Chaplin), but rather tried to integrate into a strongly desired world.[39]

 
Thaïs by Anton Giulio Bragaglia (1917)

Italian futurist cinema was the oldest movement of European avant-garde cinema.[10] Italian futurism, an artistic and social movement, impacted the Italian film industry from 1916 to 1919.[40] It influenced Russian Futurist[41] and German Expressionist cinema.[42] Its cultural importance was considerable and influenced all subsequent avant-gardes, as well as some authors of narrative cinema; its echo expands to the dreamlike visions of some films by Alfred Hitchcock.[43] Futurism emphasized dynamism, speed, technology, youth, violence, and objects such as the car, the airplane, and the industrial city. Its key figures were the Italians Filippo Tommaso Marinetti, Umberto Boccioni, Carlo Carrà, Fortunato Depero, Gino Severini, Giacomo Balla, and Luigi Russolo. It glorified modernity and aimed to liberate Italy from the weight of its past.[44]

The 1916 Manifesto of Futuristic Cinematography was signed by Filippo Tommaso Marinetti, Armando Ginna, Bruno Corra, Giacomo Balla and others. To the Futurists, cinema was an ideal art form, being a fresh medium, and able to be manipulated by speed, special effects and editing. Most of the futuristic-themed films of this period have been lost, but critics cite Thaïs (1917) by Anton Giulio Bragaglia as one of the most influential, serving as the main inspiration for German Expressionist cinema in the following decade. The Italian film industry struggled against rising foreign competition in the years following World War I.[12] Several major studios, among them Cines and Ambrosio, formed the Unione Cinematografica Italiana to coordinate a national strategy for film production. This effort was largely unsuccessful, however, due to a wide disconnect between production and exhibition; some movies were not released until several years after they were produced.[45]

1920s edit

 
'A Santanotte by Elvira Notari (1922)
 
Sun by Alessandro Blasetti (1929)

With the end of World War I, Italian cinema suffered from production disorganization, increased costs, technological backwardness, loss of foreign markets and inability to cope with Hollywood.[46] The first half of the 1920s marked a sharp decrease in production, from 350 films produced in 1921 to 60 in 1924.[47]

The main causes included the lack of a generational change with a production still dominated by filmmakers and producers of literary training, such that literature and theatre were still preferred media. Sentimental cinema for women spread, centred on figures on the margins of society. It was conservative cinema, tied to social rules upset by the war and in the process of dissolution throughout Europe. An exemple is A Woman's Story (1920) by Eugenio Perego, which is a 19th-century morality with melodramatic tones.[48]

A new genre developed in a realist setting, like work by the first female director of Italian cinema, Elvira Notari,[49] and Lost in the Dark (1914) by director Nino Martoglio.[50]

The revival of Italian cinema took place at the end of the 1920s. The productions were larger in scale and addressed peasant topics, hitherto practically absent in Italian cinema. Sun (1929) by Alessandro Blasetti reflects influence from Soviet and German avant-gardes.[51] The movement was above all an emancipation from literary models and a turn to more popular taste.

1930s edit

 
The Song of Love by Gennaro Righelli (1930), the first Italian talking picture

The sound cinema arrived in Italy in 1930, three years after the release of The Jazz Singer (1927), and immediately led to a debate on the validity of spoken cinema and its relationship with the theatre. Some directors enthusiastically face the new challenge. The advent of talkies led to stricter censorship by the Fascist government.[12]

The first Italian talking picture was The Song of Love (1930) by Gennaro Righelli, which was a great success with the public. Alessandro Blasetti also experimented with the use of an optical track for sound in the film Resurrection (1931), shot before The Song of Love but released a few months later.[52] Similar to Righelli's film is What Scoundrels Men Are! (1932) by Mario Camerini, which has the merit of making Vittorio De Sica debut on the screens. Historical films such as Blasetti's 1860 (1934) and Carmine Gallone's Scipio Africanus: The Defeat of Hannibal (1937) were also popular during this period.[12]

With the transition to sound cinema, most of the Italian silent film actors, still linked to theatrical stylization, find themselves disqualified. The era of divas, dandies and strongmen, who barely survived the 1920s, is definitely over. Even if some performers will move on to directing or producing, the arrival of sound favours the generational change and the consequent modernization of the structures.

Italian-born director Frank Capra received three Academy Awards for Best Director for the films It Happened One Night (1934, the first Big Five winner at the Academy Awards), Mr. Deeds Goes to Town (1936) and You Can't Take It with You (1938).

In 1932, the Venice Film Festival was established. It is today the world's oldest film festival. Alongside the Cannes and Berlin Festivals, it is has shaped film history.[53][54][55][56]

Cinecittà edit

Main article: Cinecittà
 
Entrance to the Cinecittà in Rome, the largest film studio in Europe[57]

In 1934, the Fascist Italian government created the General Directorate for Cinema (Direzione Generale per la Cinematografia) and appointed Luigi Freddi its director. A town was developed southeast of Rome devoted exclusively to cinema and dubbed the Cinecittà ("Cinema City"). The project was clearly aware of film's value as a propaganda tool.[58][59][60]

Mussolini himself inaugurated the studios on 28 April 1937.[61] Films such as Scipio Africanus (1937) and The Iron Crown (1941) showcased the technological capacities of the studios. Seven thousand people were involved in filming a battle scene from Scipio Africanus, and live elephants were brought in as a part of the re-enactment of the Battle of Zama.[62] The Cinecittà studios were Europe's most advanced production facilities and greatly boosted the technical quality of Italian films.[12] Many films are still shot entirely in Cinecittà.[63]

Telefoni Bianchi edit

Main article: Telefoni Bianchi
 
Department Store by Mario Camerini (1939)

During the 1930s, light comedies known as Telefoni Bianchi ("white telephones") were predominant in Italian cinema.[12] These films featured lavish set designs and promoted conservative values, which made them popular with censors. Numerous screenwriters (including Cesare Zavattini and Sergio Amidei) and set designers (Guido Fiorini, Gino Carlo Sensani and Antonio Valente) established themselves by working on Telefoni films.[64][65]

The first film of the genre Telefoni Bianchi was The Private Secretary (1931), by Goffredo Alessandrini.[66] Others include Schoolgirl Diary (1941) and A Thousand Lire a Month (1939).

Fascist propaganda edit

See also: Propaganda in Fascist Italy
 
The Old Guard by Alessandro Blasetti (1934)

One of the major films of Italian fascist propaganda cinema was Black Shirt (1933), by Giovacchino Forzano, made for the 10th anniversary of the March on Rome. With political consolidation, government authorities required the film industry to focus more on Italy's history and culture. This trend reached its peak just before the war with Cavalry (1936), by Goffredo Alessandrini, evoking the nobility of the Savoy fighters from the Risorgimento as anticipations of Fascist squads. Condottieri (1937) by Luis Trenker, tells the story of Giovanni delle Bande Nere as a sort of parallel with Benito Mussolini. Scipio Africanus: The Defeat of Hannibal (1937) was one of the greatest financial efforts of the time: it implicity compares the Roman Empire to the Fascist Empire.[67]

The invasion of Ethiopia gave Italian directors the opportunity to extend the horizons of the settings.[68] Both The Great Appeal (1936) and Lo squadrone bianco (1936) exalt imperialism. The Spanish Civil War is described most spectacularly in The Siege of the Alcazar (1940).[67]

 
Men of the Mountain by Aldo Vergano (1943)

1940s edit

Propaganda edit

With Italy's participation in World War II, the fascist regime further strengthens its control over production and requires a more decisive commitment to propaganda. In addition to the now canonical documentaries, short films and newsreels, there is also an increase in feature films in praise of Italian war efforts. Among the most representative are Bengasi (1942) by Genina, Gente dell'aria (1943) by Esodo Pratelli, The Three Pilots (1942) by Mario Mattoli (based on a screenplay by Vittorio Mussolini), Il treno crociato (1943) by Carlo Campogalliani, Harlem (1943) by Carmine Gallone and Men of the Mountain (1943) by Aldo Vergano under the supervision of Blasetti. Uomini sul fondo (1941) by Francesco De Robertis is also notable due to its almost documentary approach.[69]

The most successful film of the period is We the Living (1942) by Goffredo Alessandrini, made as a single film, but then distributed in two parts due to its excessive length. Referable to the genre of anti-communist drama, this sombre melodrama (set in the Soviet Union) is inspired by the novel of the same name by the writer Ayn Rand which exalts philosophical individualism.[70]

Among the propaganda directors, there is also Roberto Rossellini, author of a trilogy composed of The White Ship (1941), A Pilot Returns (1942) and The Man with a Cross (1943).[70]

Calligrafismo edit

Main article: Calligrafismo
 
Tragic Night by Mario Soldati (1942)

The Calligrafismo style contrasts American style comedies because of its formalistic, expressive manner and its interest in contemporary literary texts taken from Italian realists.[71] The best-known exponent of this genre is Mario Soldati, whose characters often show psychological strength and master internal conflicts. Another important example of a calligraphic film is The Betrothed (1941), which became the most popular feature film in 1941 and 1942.[72]

Animation edit

 
Bruno Bozzetto

The pioneer of the Italian cartoon was Francesco Guido, better known as Gibba. Immediately after World War II, he produced the first animated medium-length Italian film.[73] In 1949, The Dynamite Brothers followed. It was released in a package with La Rosa di Bagdad (1949).[73]

Neorealism edit

Main articles: Italian neorealism and Women in Italian neorealism
 
Vittorio De Sica, a leading figure in the neorealist movement and one of the world's most acclaimed and influential filmmakers of all time.[74]

Neorealist films typically dealt with the working class and were shot on location. There were several important precursors to the movement, like What Scoundrels Men Are! (1932) and Four Steps in the Clouds (1942).[75]

 
Roberto Rossellini and Mario Monicelli winning the Golden Lion for General Della Rovere and The Great War respectively.

They were not successful in Fascist-controlled parts of Italy, but after the war Italian neorealism was influential at the international level. Still, neorealist films made up only a small percentage of Italian films produced during this period. Postwar Italian moviegoers preferred escapist comedies starring actors like Totò and Alberto Sordi.[75]

Neorealist works such as Roberto Rossellini's trilogy Rome, Open City (1945), Paisà (1946), and Germany, Year Zero (1948), with professional actors such as Anna Magnani and a number of non-professional actors, attempted to describe the difficult economic and moral conditions of postwar Italy and the changes in public mentality in everyday life. Visconti's The Earth Trembles (1948) was shot on location in a Sicilian fishing village and used locals as actors.

Poetry and cruelty of life were harmonically combined in the works that Vittorio De Sica wrote and directed together with screenwriter Cesare Zavattini: among them were Shoeshine (1946) and The Bicycle Thief (1948). The 1952 film Umberto D., about a beggar with his dog, is perhaps De Sica's masterpiece.[76] It embodies both a conservative and a progressive view of post-war society.[76]

1950s edit

 
Massimo Girotti e Lucia Bosè in Story of a Love Affair by Michelangelo Antonioni (1950)

The mid-1950s saw more and more Italian films tackling existential topics; they were often more introspective than descriptive.[78] Michelangelo Antonioni was the first to establish himself and he became a reference for contemporary cinema.[79] His first work, Story of a Love Affair (1950), breaks with neorealism.[79] He investigates the world of the Italian bourgeoisie with a critical eye in films like I Vinti (1952), The Lady Without Camelias (1953) and Le Amiche (1955). Federico Fellini's La Strada (1954) and Pier Paolo Pasolini's first film, Accattone (1961) are also considered neorealist.[75] This period is also referred to as "The Golden Age" of Italian cinema.

 
Totò in Toto and the King of Rome by Mario Monicelli and Steno (1952)

In commercial productions, the phenomenon of Totò was born. This Neapolitan actor is acclaimed as the major Italian comedian. His films (often with Aldo Fabrizi, Peppino De Filippo and almost always with Mario Castellani) expressed a sort of neorealistic satire.[80] Totò is one of the symbols of the cinema of Naples.[81]

Pink neorealism edit

 
Pane, amore e fantasia by Luigi Comencini (1953)

Although Umberto D. is considered the end of the neorealist period, subsequent works turned toward lighter, sweetened and mildly optimistic atmospheres, more coherent with the improving conditions of Italy just before the economic boom; this genre became known as pink neorealism.

 
Poveri ma belli by Dino Risi (1957)

Notable films of pink neorealism, which combine popular comedy and realist motifs, are Pane, amore e fantasia (1953) by Luigi Comencini and Poveri ma belli (1957) by Dino Risi, both works are in perfect harmony with the evolution of the Italian costume.[82] The large influx at the box office from the two films remained almost unchanged in the sequels Bread, Love and Jealousy (1954), Scandal in Sorrento (1955) and Pretty But Poor (1957), also directed by Luigi Comencini and Dino Risi.

Actresses who excelled in this genre included international celebrities such as Sophia Loren and Gina Lollobrigida.

Don Camillo and Peppone edit

Main article: Don Camillo and Peppone
 
Gino Cervi and Fernandel in Don Camillo: Monsignor by Carmine Gallone (1961)

A series of black-and-white films based on the Don Camillo and Peppone characters created by journalist Giovannino Guareschi were made between 1952 and 1965. These were French-Italian coproductions, and starred Fernandel as the Italian priest Don Camillo and Gino Cervi as Giuseppe 'Peppone' Bottazzi, the Communist mayor of their rural town. The movies were hugely successful: In 1952, Little World of Don Camillo was the highest-grossing film in both Italy and France,[83] while The Return of Don Camillo was the second most popular film of 1953 at the Italian and French box office.[84]

Hollywood on the Tiber edit

Main article: Hollywood on the Tiber
 
American film Ben-Hur by William Wyler (1959) was shot at the Cinecittà studios and on location around Rome.

Hollywood on the Tiber describes the period in the 1950s and 1960s when Rome emerged as a major location for international filmmaking.[57] These movies were made in English for global release and many enjoyed widespread popularity. Large-budget films shot at Cinecittà include Quo Vadis (1951), Roman Holiday (1953), Ben-Hur (1959), and Cleopatra (1963).[85]

Sword-and-sandal (a.k.a. Peplum) edit

Main article: Sword-and-sandal
 
Hercules by Pietro Francisci (1958)

Sword-and-sandal is a subgenre of historical, mythological, or biblical epics. These films attempted to emulate the big-budget Hollywood historical epics of the time.[86] With the release of 1958's Hercules, starring American bodybuilder Steve Reeves, the genre was established with both European and American audiences. New directors such as Sergio Leone and Mario Bava broke into film with these films. Most sword-and-sandal films were in colour, a novelty.

1960s edit

 
Marcello Mastroianni in 8½ (1963) by Federico Fellini, considered to be one of the greatest films of all time[87]

Federico Fellini dominated this decade. He won the Palme d'Or for La Dolce Vita, was nominated for more Academy Awards than any director in the history of the academy. His other well-known films include La Strada (1954), Nights of Cabiria (1957), Satyricon (1969), and Fellini's Casanova (1976).[88]

Franco and Ciccio were a comedy duo formed by Italian actors Franco Franchi and Ciccio Ingrassia, particularly popular in the 1960s and 1970s. Together, they appeared in 116 films, usually as the main characters.[89]

Musicarelli edit

Main article: Musicarello
 
Al Bano and Romina Power in Nel sole by Aldo Grimaldi (1967)

Musicarello (pl. musicarelli) is a film subgenre which emerged in Italy and which is characterised by the presence in main roles of young singers, already famous among their peers, and their new record album. The genre began in the late 1950s, and had its peak of production in the 1960s.[90]

The film which started the genre is considered to be I ragazzi del Juke-Box by Lucio Fulci (1959).[91] The musicarelli were inspired by two American musicals, in particular Jailhouse Rock by Richard Thorpe (1957) and earlier Love Me Tender by Robert D. Webb (1956), both starring Elvis Presley.[92][93][94]

At the heart of the musicarello is a hit song, or a song that the producers hoped would become a hit, that usually shares its title with the film itself and sometimes has lyrics depicting a part of the plot.[95] In the films there are almost always tender and chaste love stories accompanied by the desire to have fun and dance without thoughts.[96] Musicarelli reflect the desire and need for emancipation of young Italians, highlighting some generational frictions.[92]

With the arrival of the 1968 student protests the genre started to decline, because the generational revolt became explicitly political and at the same time there was no longer music equally directed to the whole youth audience.[97] For some time the duo Al Bano and Romina Power continued to enjoy success in musicarello films, but their films (like their songs) were a return to the traditional melody and to the musical films of the previous decades.[97]

Commedia all'Italiana edit

Main article: Commedia all'Italiana
 
Divorce Italian Style by Pietro Germi (1961)

Commedia all'italiana ("Comedy in the Italian way") was a genre that developed from the 1950s to the 1970s. It derives its name from the title of Pietro Germi's Divorce Italian Style, 1961.[98] The term indicates a period in which the Italian film industry was producing many successful comedies about controversial social issues like sexual behavior, divorce, contraception, and the traditional religious influence of the Catholic Church.[99]

 
Be Sick... It's Free by Luigi Zampa (1968)
 
My Friends by Mario Monicelli (1975)

An entire generation of great actors contributed to the films: Ugo Tognazzi, Marcello Mastroianni, and Nino Manfredi are among them.[100] Dino Risi garnered fame for directing Una vita difficile (A Difficult Life), then Il Sorpasso (The Easy Life), now a cult-movie. Many others followed.

Spaghetti Western edit

Main article: Spaghetti Western
 
Sergio Leone, widely regarded as one of the most influential directors in the history of cinema.[101][102]

On the heels of the sword-and-sandal craze, a related genre, the Spaghetti Western arose. These films differed from traditional westerns because they were filmed in Europe, produced and directed by Italians.[103] The most director was Sergio Leone, credited as the inventor of the genre.[104][105] His A Fistful of Dollars was an unauthorized remake of the Japanese film Yojimbo by Akira Kurosawa. The Good, the Bad and the Ugly featured Clint Eastwood and notorious music by Ennio Morricone.

Giallo edit

Main article: Giallo
 
Mario Bava, referred to as the "Master of Italian Horror"[106] and the "Master of the Macabre".[107]
 
Dario Argento, referred to as the "Master of the Thrill"[108] and the "Master of Horror".[109]

During the 1960s and 1970s, Italian filmmakers Mario Bava, Riccardo Freda, Antonio Margheriti and Dario Argento developed giallo (plural gialli, from giallo, Italian for "yellow") horror films that become classics and influenced the genre in other countries. Representative films include: The Girl Who Knew Too Much (1963), Castle of Blood (1964), The Bird with the Crystal Plumage (1970), Twitch of the Death Nerve (1971), Deep Red (1975) and Suspiria (1977).

Giallo is a genre of mystery fiction and thrillers and often contains slasher, crime fiction, psychological thriller, psychological horror, sexploitation, and, less frequently, supernatural horror elements.[110] Giallo developed in the mid-to-late 1960s, peaked in popularity during the 1970s, and subsequently declined in commercial mainstream filmmaking over the next few decades, though examples continue to be produced. It was a predecessor to, and had significant influence on, the later American slasher film genre.[111]

Giallo usually blends the atmosphere and suspense of thriller fiction with elements of horror fiction (such as slasher violence) and eroticism (similar to the French fantastique genre), and often involves a mysterious killer whose identity is not revealed until the final act of the film. Most critics agree that the giallo represents a distinct category with unique features,[112] but there is some disagreement on what exactly defines a giallo film.[113]

 
The Girl Who Knew Too Much by Mario Bava (1963), considered by most critics to be the first giallo film.[114]

Giallo films are generally gruesome murder-mystery thrillers that combine the suspense elements of detective fiction with scenes of shocking horror. The archetypal giallo plot involves a mysterious, black-gloved killer who stalks and kills women.[115] While most gialli involve a human killer, some also feature a supernatural element.[116] The protagonists are often unconnected to the murders before they begin; they get drawn in as witnesses.[116]

Social and political cinema edit

The auteur cinema of the 1960s included an authorial vision that was less surreal and existential and more political; it sought to denounce corruption and malfeasance,[117] both in politics and industry.

 
Gian Maria Volonté and Florinda Bolkan in Investigation of a Citizen Above Suspicion by Elio Petri (1970)

In 1962, Francesco Rosi[118] inaugurated an investigation film project retracing, through a series of long flashbacks, the life of a Sicilian criminal, the title figure in Salvatore Giuliano. The following year he directed Rod Steiger in Hands over the City (1963); this film was a denuciation of corruption in real estate and construction companies in Naples. The film was awarded the Golden Lion at the Venice Film Festival.

1970s edit

 
Marcello Mastroianni and Sophia Loren in A Special Day by Ettore Scola (1977)

In the 1970s the work done by the director Lina Wertmüller was influential. Together with actors Giancarlo Giannini and Mariangela Melato, she made several films and with Seven Beauties (1976), she obtained four nominations for the Academy Awards. That made her the first woman to be nominated for best director.[119]

Ettore Scola made his directorial debut in 1964 with Let's Talk About Women. In 1974, he directed his best-known film, We All Loved Each Other So Much. Other films include Down and Dirty (1976) starring Nino Manfredi, and A Special Day (1977) starring Sophia Loren and Marcello Mastroianni.[120] In the 1970s, after many animated documentaries, Gibba returned to the feature film with the erotic Il nano e la strega (1973) and Il racconto della giungla (1974). Emanuele Luzzati contributed what is considered[citation needed] one of the masterpieces of Italian animation: Il flauto magico ("The Magic Flute", 1976), based on Mozart's opera.

After many satirical short films (centred on the popular figure of "Signor Rossi") Bruno Bozzetto returned to the feature film with what is considered[citation needed] his most ambitious work, Allegro Non Troppo (1977). Inspired by Disney's Fantasia, it is a mixed media film, in which animated episodes are combined with classical music pieces. Another notable illustrator was Pino Zac who in 1971 shot (again with mixed technique) The Nonexistent Knight, based on the novel of the same name by Italo Calvino.

One of Francesco Rosi's most famous films of denunciation is The Mattei Affair (1972), a documentary into the mysterious disappearance of Enrico Mattei. The film won the Palme d'Or at the Cannes Film Festival. It became (together with Illustrious Corpses (1976)) a model for similar denunciation films produced both in Italy and abroad. Famous films of denunciation by Elio Petri are The Working Class Goes to Heaven (1971), a corrosive denunciation of life in the factory (winner of the Palme d'Or at Cannes) and Investigation of a Citizen Above Suspicion (1970). The latter (accompanied by a soundtrack by Ennio Morricone) is a dry psychoanalytic thriller centred on the aberrations of power.[121] The film won the Academy Award for Best International Feature Film the following year.

Poliziotteschi edit

Main article: Poliziotteschi
 
Caliber 9 by Fernando Di Leo (1972)

Poliziotteschi films constitute a subgenre of crime and action films that emerged in Italy in the late 1960s and reached the height of their popularity in the 1970s. They are also known as polizieschi all'italiana, Euro-crime, Italo-crime, spaghetti crime films', or simply Italian crime films.

Influenced by both 1970s French crime films and gritty 1960s and 1970s American cop films and vigilante films,[122] poliziotteschi films were made amidst an atmosphere of socio-political turmoil in Italy and increasing Italian crime rates.

The films generally featured graphic and brutal violence, organized crime, car chases, vigilantism, heists, gunfights, and corruption. The protagonists were generally tough working-class loners, willing to act outside a corrupt or overly bureaucratic system.[123] Notable international actors who acted in this genre of films include Alain Delon, Henry Silva, Fred Williamson, Charles Bronson, Tomas Milian and others.

Bud Spencer and Terence Hill edit

Main article: Terence Hill and Bud Spencer
 
Bud Spencer and Terence Hill in They Call Me Trinity by Enzo Barboni (1970)

Also considered Spaghetti Westerns is a film genre which combined traditional western ambience with a Commedia all'italiana-type comedy. Films in this genre included They Call Me Trinity (1970) and Trinity Is Still My Name (1971), both by Enzo Barboni, which featured Bud Spencer and Terence Hill, the stage names of Carlo Pedersoli and Mario Girotti.

Terence Hill and Bud Spencer made numerous films together.[124] Most of their early films were Spaghetti Westerns, beginning with God Forgives... I Don't! (1967), the first part of a trilogy, followed by Ace High (1968) and Boot Hill (1969), but they also starred in comedies such as ... All the Way, Boys! (1972) and Watch Out, We're Mad! (1974).

The next films shot by the couple of actors, almost all comedies, were Two Missionaries (1974), Crime Busters (1977), Odds and Evens (1978), I'm for the Hippopotamus (1979), Who Finds a Friend Finds a Treasure (1981), Go for It (1983), Double Trouble (1984), Miami Supercops (1985) and Troublemakers (1994).

Commedia sexy all'italiana edit

Main article: Commedia sexy all'italiana
 
La moglie vergine by Marino Girolami (1975)

Commedia sexy all'italiana is characterized typically by female nudity and comedy, and by the minimal weight given to social criticism that was the basic ingredient of the main commedia all'italiana genre.[125] Stories are often set in affluent environments such as wealthy households. It is closely connected to the sexual revolution. For the first time, films with female nudity could be watched at the cinema. Pornography and scenes of explicit sex were still forbidden in Italian cinemas, but partial nudity was somewhat tolerated. The genre has been described as a cross between bawdy comedy and humorous erotic film with ample slapstick elements which follow more or less clichéd storylines.

During this time, commedia sexy all'italiana films, described by the film critics of the time as not artistic or "trash films", were very popular in Italy. Today they are widely re-evaluated and have become cult movies. They also allowed the producers of Italian cinema to have enough revenue to produce successful artistic films. These comedy films were of little artistic value and reached their popularity by confronting Italian social taboos, most notably in the sexual sphere. Actors such as Lando Buzzanca, Lino Banfi, Renzo Montagnani, Alvaro Vitali, Gloria Guida, Barbara Bouchet and Edwige Fenech owe much of their popularity to these films.

Fantozzi edit

Main article: Ugo Fantozzi
 
Paolo Villaggio as Ugo Fantozzi in Fantozzi by Luciano Salce (1975)

The films starring Ugo Fantozzi, a character invented by Paolo Villaggio for his television sketches and newspaper short stories, also fell within the comic satirical comedy genre.[126] Although Villaggio's movies tend to bridge comedy with a more elevated social satire, this character had a significant impact on Italian society, to such a degree that the adjective fantozziano entered the lexicon.[127] Ugo Fantozzi represents the archetype of the average Italian of the 1970s, middle-class with a simple lifestyle with the anxieties common to an entire class of workers,[128] being re-evaluated by critics.[129] Of the many films telling of Fantozzi's misadventures, the most notable and famous were Fantozzi (1975) and Il secondo tragico Fantozzi (1976), both directed by Luciano Salce.

Sceneggiata edit

Main article: Sceneggiata
 
Sgarro alla camorra by Ettore Maria Fizzarotti (1973)

The sceneggiata (pl. sceneggiate) or sceneggiata napoletana is a form of musical drama typical of Naples. Beginning as a form of musical theatre after World War I, it was also adapted for cinema; sceneggiata films became especially popular in the 1970s, and contributed to the genre becoming more widely known outside Naples.[130] The most famous actors who played dramas were Mario Merola, Mario Trevi, and Nino D'Angelo.[131]

The sceneggiata can be described as a "musical soap opera", where action and dialogue are interspersed with Neapolitan songs. Plots revolve around melodramatic themes drawing from the Neapolitan culture and tradition, including passion, jealousy, betrayal, personal deceit and treachery, honour, vengeance, and life in the world of petty crime. Songs and dialogue were originally in Neapolitan dialect, although, especially in film production, Italian has sometimes been preferred, to reach a larger audience.

Sgarro alla camorra (i.e. "Offence to the Camorra", 1973), written and directed by Ettore Maria Fizzarotti and starring Mario Merola at his film debut, is regarded as the first sceneggiata film and as a prototype for the genre.[132][133]

1980s edit

 
Ennio Morricone composed over 500 scores for cinema and television since 1946.[134]

The 1980s was a period of decline for Italian filmmaking. In 1985, only 80 films were produced (the least since the postwar period)[135] and the total audience decreased from 525 million in 1970 to 123 million.[136] The era of producers ended; Carlo Ponti and Dino De Laurentiis worked abroad, and Goffredo Lombardo and Franco Cristaldi were no longer key figures. The crisis affected the Italian genre cinema above all, which, by virtue of the success of commercial television, was deprived of most of its audience.[137] As a result, cinemas began showing mainly Hollywood films, which steadily took over, while many other cinemas closed.

Among the major artistic films of this era were La città delle donne, E la nave va, Ginger and Fred by Fellini, L'albero degli zoccoli by Ermanno Olmi (winner of the Palme d'Or at the Cannes Film Festival), La notte di San Lorenzo by Paolo and Vittorio Taviani, Antonioni's Identificazione di una donna, and Bianca and La messa è finita by Nanni Moretti. Non ci resta che piangere, directed by and starring both Roberto Benigni and Massimo Troisi, is a cult movie in Italy.

Carlo Verdone, actor, screenwriter and film director, is best known for his comedic roles in Italian classics, which he also wrote and directed. His career was jumpstarted by his first three successes, Un sacco bello (1980), Bianco, rosso e Verdone (1981) and Borotalco (1982). Francesco Nuti began his professional career as an actor in the late 1970s, when he formed the cabaret group Giancattivi together with Alessandro Benvenuti and Athina Cenci. Starting in 1985, he began to direct his movies, scoring an immediate success with the films Casablanca, Casablanca and All the Fault of Paradise (1985), Stregati (1987), Caruso Pascoski, Son of a Pole (1988), Willy Signori e vengo da lontano (1990) and Women in Skirts (1991).

The cinepanettoni (singular: cinepanettone) are a series of farcical comedy films, one or two of which are scheduled for release annually in Italy during the Christmas period. The films were originally produced by Aurelio De Laurentiis' Filmauro studio.[138] For the majority of critics the "Commedia all'italiana" waned from the beginning of the 1980s, giving way to an "Commedia italiana" ("Italian comedy").[139]

1990s edit

 
Roberto Benigni and Nicoletta Braschi

The economic crisis that emerged in the 1980s began to ease over the next decade.[140] Nonetheless, the 1992–93 and 1993–94 seasons marked an all-time low in the number of films made, in the national market share (15 per cent), in the total number of viewers (under 90 million per year) and in the number of cinemas.[141] The effect of this industrial contraction was the disappearance of Italian genre cinema in the middle of the decade, as it was no longer able to compete with the contemporary big Hollywood blockbusters (mainly due to the enormous budget differences).

The most noted film of the period is Nuovo Cinema Paradiso, for which Giuseppe Tornatore won a 1989 Oscar (awarded in 1990) for Best Foreign Language Film. This award was followed when Gabriele Salvatores's Mediterraneo won the same prize in 1991.

Il Postino: The Postman (1994), directed by the British Michael Radford and starring Massimo Troisi, received five nominations at the Academy Awards, including Best Picture and Best Actor for Troisi, and won for Best Original Score. In 1998 Roberto Benigni won three Oscars for his movie Life Is Beautiful (La vita è bella).

Leonardo Pieraccioni made his directorial debut with The Graduates (1995).[142] In 1996 he directed his breakthrough film The Cyclone, which grossed Lire 75 billion at the box office.[143][144] In the 1990s, Italian animation entered a new phase of production due to the Turin Lanterna Magica studio which in 1996, under the direction of Enzo D'Alò, created the Christmas fairy tale La freccia azzurra, based on a short story by Gianni Rodari. The film was a success and paved the way for other feature films. In fact, in 1998, Lucky and Zorba based on a novel by Luis Sepúlveda was distributed, which attracted the favour of the public.[145]

2000s edit

The Italian film industry regained stability and critical recognition. In 1995, 93 films were produced,[146] while in 2005, 274 films were made.[147] In 2006, the national market share reached 31 per cent.[148] In 2001, Nanni Moretti's film The Son's Room (La stanza del figlio) received the Palme d'Or at the Cannes Film Festival. Other noteworthy recent Italian films include: Jona che visse nella balena directed by Roberto Faenza, Il grande cocomero by Francesca Archibugi, The Profession of Arms (Il mestiere delle armi) by Olmi, L'ora di religione by Marco Bellocchio, Il ladro di bambini, Lamerica, The Keys to the House (Le chiavi di casa) by Gianni Amelio, I'm Not Scared (Io non-ho paura) by Gabriele Salvatores, Le Fate Ignoranti, Facing Windows (La finestra di fronte) by Ferzan Özpetek, Good Morning, Night (Buongiorno, notte) by Marco Bellocchio, The Best of Youth (La meglio gioventù) by Marco Tullio Giordana, The Beast in the Heart (La bestia nel cuore) by Cristina Comencini.

In 2008 Paolo Sorrentino's Il Divo, a biographical film based on the life of Giulio Andreotti, won the Jury prize and Gomorra, a crime drama film, directed by Matteo Garrone won the Gran Prix at the Cannes Film Festival. The director Enzo d'Alò produced other films in the following years such as Momo (2001) and Opopomoz (2003). The Turin studio distributed on its behalf the films Aida of the Trees (2001) and Totò Sapore e la magica storia della pizza (2003), accompanied by a good response at the box office. In 2003, the first entirely Italian animated film in computer graphics was released: L'apetta Giulia and Signora Vita, directed by Paolo Modugno.[149]

2010s edit

 
Perfect Strangers (2016) by Paolo Genovese was included in the Guinness World Records as the most remade film in cinema history, with a total of 18 remakes.[150]

Paolo Sorrentino's The Great Beauty (La Grande Bellezza) won the 2014 Academy Award for Best Foreign Language Film. In 2010, the first Italian animated film in 3D was made, directed by Iginio Straffi, entitled Winx Club 3D: Magical Adventure, based on the homonymous series; in the meantime Enzo D'Alò returned to theatres, presenting his Pinocchio (2012). Cinderella the Cat (2017), taken from the text Pentamerone by Giambattista Basile, won two David di Donatello's, one of which was for special effects, becoming the first animated film to be nominated, and win, in this category.

The two highest-grossing Italian films in Italy have both been directed by Gennaro Nunziante and starred Checco Zalone: Sole a catinelle (2013) with €51.8 million, and Quo Vado? (2016) with €65.3 million.[151][152] They Call Me Jeeg, a 2016 critically acclaimed superhero film directed by Gabriele Mainetti and starring Claudio Santamaria, won eight David di Donatello, two Nastro d'Argento, and a Globo d'oro.

Gianfranco Rosi's documentary film Fire at Sea (2016) won the Golden Bear at the 66th Berlin International Film Festival.

Other successful 2010s Italian films include: Vincere and The Traitor by Marco Bellocchio, The First Beautiful Thing (La prima cosa bella), Human Capital (Il capitale umano) and Like Crazy (La pazza gioia) by Paolo Virzì, We Have a Pope (Habemus Papam) and Mia Madre by Nanni Moretti, Caesar Must Die (Cesare deve morire) by Paolo and Vittorio Taviani, Don't Be Bad (Non essere cattivo) by Claudio Caligari, Romanzo Criminale by Michele Placido (that spawned a TV series, Romanzo criminale - La serie), Youth (La giovinezza) by Paolo Sorrentino, Suburra by Stefano Sollima, Perfect Strangers (Perfetti sconosciuti) by Paolo Genovese, Mediterranea and A Ciambra by Jonas Carpignano, Italian Race (Veloce come il vento) and The First King: Birth of an Empire (Il primo re) by Matteo Rovere, and Tale of Tales (Il racconto dei racconti), Dogman and Pinocchio by Matteo Garrone.

Call Me by Your Name (2017), the final installment in Luca Guadagnino's thematic Desire trilogy, following I Am Love (2009) and A Bigger Splash (2015), received widespread acclaim and numerous accolades, including the Academy Award for Best Adapted Screenplay and the nomination for Best Picture in 2018.

Perfect Strangers by Paolo Genovese was included in the Guinness World Records as it became the most remade film in cinema history, with a total of 18 versions.[150]

2020s edit

Successful 2020s Italian films include: The Life Ahead by Edoardo Ponti, Hidden Away by Giorgio Diritti, Bad Tales by Damiano and Fabio D'Innocenzo, The Predators by Pietro Castellitto, Padrenostro by Claudio Noce, Notturno by Gianfranco Rosi, The King of Laughter by Mario Martone, A Chiara by Jonas Carpignano, Freaks Out by Gabriele Mainetti, The Hand of God by Paolo Sorrentino, Nostalgia by Mario Martone, Dry by Paolo Virzì, The Hanging Sun by Francesco Carrozzini, Bones and All by Luca Guadagnino, L'immensità by Emanuele Crialese, Robbing Mussolini by Renato De Maria, Adagio by Stefano Sollima, There's Still Tomorrow by Paola Cortellesi, Last Night of Amore by Andrea Di Stefano, The First Day of My Life by Paolo Genovese, Thank You Guys by Riccardo Milani, Io capitano by Matteo Garrone, A Brighter Tomorrow by Nanni Moretti and Comandante by Edoardo De Angelis.

100 Italian films to be saved edit

Main article: 100 Italian films to be saved
 
Everybody Go Home by Luigi Comencini (1960)

The list of the 100 Italian films to be saved (Italian: 100 film italiani da salvare) was created with the aim to report "100 films that have changed the collective memory of the country between 1942 and 1978". The project was established in 2008 by the Venice Days festival section of the 65th Venice International Film Festival, in collaboration with Cinecittà Holding and with the support of the Ministry of Cultural Heritage.

The list was edited by Fabio Ferzetti,[153] film critic of the newspaper Il Messaggero, in collaboration with film director Gianni Amelio and the writers and film critics Gian Piero Brunetta, Giovanni De Luna, Gianluca Farinelli, Giovanna Grignaffini, Paolo Mereghetti, Morando Morandini, Domenico Starnone and Sergio Toffetti.[154][155]

Cinematheques edit

Main articles: Cineteca Nazionale, Cineteca Italiana, and Cineteca di Bologna

Cineteca Nazionale is a film archive located in Rome. Founded in 1949, it includes 80,000 films on file, 600,000 photographs, 50,000 posters and the collection of the Italian Association for the History of Cinema Research (AIRSC).[156] It arose from the archival heritage of the Centro Sperimentale di Cinematografia, which in 1943, had been removed by the Nazi occupiers.[157][158][159] Cineteca Italiana is a private film archive located in Milan. Established in 1947, and as a foundation in 1996, the Cineteca Italiana houses over 20,000 films and more than 100,000 photographs from the history of Italian and international cinema.[160] Cineteca di Bologna is a film archive in Bologna. It was founded in 1962.[161]

Museums edit

Main articles: National Museum of Cinema and Museum of Precinema
 
The Mole Antonelliana in Turin, which houses the National Museum of Cinema

The National Museum of Cinema in Turin is a motion picture museum inside the Mole Antonelliana tower. It is operated by the Maria Adriana Prolo Foundation, and the core of its collection is the result of the work of the historian and collector Maria Adriana Prolo. It was housed in the Palazzo Chiablese. In 2008, with 532,196 visitors, it ranked 13th among the most visited Italian museums.[162] The museum houses pre-cinematographic optical devices such as magic lanterns, earlier and current film technologies, stage items from early Italian movies and other memorabilia. Along the exhibition path of about 35,000 square feet (3,200 m2) on five levels are areas devoted to the different kinds of film crew, and in the main hall, fitted in the temple hall of the Mole, a series of chapels representing several film genres.[163]

The Museum of Precinema is a museum in the Palazzo Angeli, Prato della Valle, Padua, related to the history of precinema, or precursors of film. It was created in 1998 to display the Minici Zotti Collection, in collaboration with the Comune of Padova.

The Cinema Museum of Rome is located in Cinecittà. The collections consist of movie posters and playbills, cine cameras, projectors, magic lanterns, stage costumes and the patent of Filoteo Alberini's "kinetograph".[164] The Milan Cinema Museum, managed by the Cineteca Italiana, is divided into three sections, the precinema, animation cinema and "Milan as a film set", as well as multimedia and interactive stations.[165]

The Catania Cinema Museum exhibits documents concerning cinema, its techniques and its history, particularly the link between cinema and Sicily.[166] The Cinema Museum of Syracuse collects more than 10,000 exhibits on display in 12 rooms.[167]

Italian Academy Award winners edit

See also: List of Italian Academy Award winners and nominees
 
Federico Fellini won four Oscars for Best Foreign Language Film, the most for any director.[168]

After the United States and the United Kingdom, Italy has the most Academy Awards wins.

Italy is the most awarded country at the Academy Award for Best Foreign Language Film, with 14 awards won, 3 Special Awards and 31 nominations. Winners with the year of the ceremony:

 
Sophia Loren and Eleonora Brown in Two Women by Vittorio De Sica (1960)

In 1961, Sophia Loren won the Academy Award for Best Actress for her role in Vittorio De Sica's Two Women. She was the first actress to win an Academy Award for a performance in any foreign language, and the second Italian leading lady Oscar-winner, after Anna Magnani for The Rose Tattoo. In 1998, Roberto Benigni was the first Italian actor to win the Best Actor for Life Is Beautiful.

Italian-born filmmaker Frank Capra won three times at the Academy Award for Best Director, for It Happened One Night, Mr. Deeds Goes to Town and You Can't Take It with You. Bernardo Bertolucci won the award for The Last Emperor, and also Best Adapted Screenplay for the same movie.

Ennio De Concini, Alfredo Giannetti and Pietro Germi won the award for Best Original Screenplay for Divorce Italian Style. The Academy Award for Best Film Editing was won by Gabriella Cristiani for The Last Emperor and by Pietro Scalia for JFK and Black Hawk Down.

 
Dino De Laurentiis produced more than 500 films.[169]

The award for Best Original Score was won by Nino Rota for The Godfather Part II;Giorgio Moroder for Midnight Express; Nicola Piovani for Life is Beautiful; Dario Marianelli for Atonement; and Ennio Morricone for The Hateful Eight. Giorgio Moroder also won the award for Best Original Song for Flashdance and Top Gun.

The Italian winners at the Academy Award for Best Production Design are Dario Simoni for Lawrence of Arabia and Doctor Zhivago; Elio Altramura and Gianni Quaranta for A Room with a View; Bruno Cesari, Osvaldo Desideri and Ferdinando Scarfiotti for The Last Emperor; Luciana Arrighi for Howards End; and Dante Ferretti and Francesca Lo Schiavo for The Aviator, Sweeney Todd: The Demon Barber of Fleet Street and Hugo.

The winners at the Academy Award for Best Cinematography are: Tony Gaudio for Anthony Adverse; Pasqualino De Santis for Romeo and Juliet; Vittorio Storaro for Apocalypse Now, Reds and The Last Emperor; and Mauro Fiore for Avatar.

The winners at the Academy Award for Best Costume Design are Piero Gherardi for La dolce vita and 8½; Vittorio Nino Novarese for Cleopatra and Cromwell; Danilo Donati for The Taming of the Shrew, Romeo and Juliet, and Fellini's Casanova; Franca Squarciapino for Cyrano de Bergerac; Gabriella Pescuccifor The Age of Innocence; and Milena Canonero for Barry Lyndon, Chariots of Fire, Marie Antoinette and The Grand Budapest Hotel.

Special effects artist Carlo Rambaldi won three Oscars: one Special Achievement Academy Award for Best Visual Effects for King Kong[170] and two Academy Awards for Best Visual Effects for Alien[171] (1979) and E.T. the Extra-Terrestrial.[172] The Academy Award for Best Makeup and Hairstyling was won by Manlio Rocchetti for Driving Miss Daisy, and Alessandro Bertolazzi and Giorgio Gregorini for Suicide Squad.

Sophia Loren, Federico Fellini, Michelangelo Antonioni, Dino De Laurentiis, Ennio Morricone, and Piero Tosi also received the Academy Honorary Award.

Festivals and film awards edit

Main pages: Film festivals in Italy and Italian film awards

The Association of Italian Film Festivals (AFIC; Italian: Associazione Festival italiani di cinema) is the peak body for film festivals held in Italy.[173][174]

Directors edit

Main article: List of Italian film directors

Actors and actresses edit

Main articles: List of Italian actors and List of Italian actresses

See also edit

Notes edit

  1. ^ From top left to bottom right: Vittorio De Sica, Sophia Loren, Marcello Mastroianni, Pier Paolo Pasolini, Roberto Rossellini, Sergio Leone, Nino Manfredi, Luchino Visconti, Alberto Sordi, Totò, Gina Lollobrigida, Claudia Cardinale, Anna Magnani, Roberto Benigni, Michelangelo Antonioni, Giancarlo Giannini, Ugo Tognazzi, Bud Spencer, Isabella Rossellini, Federico Fellini, Mario Monicelli, Virna Lisi, Ettore Scola, Alvaro Vitali, and Monica Bellucci

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External links edit

 
Wikimedia Commons has media related to Cinema of Italy.
  • . Archived from the original on 13 February 2009.
  • . Archived from the original on 15 April 2010.
  • . Archived from the original on 22 August 2010.
  • "Italian Movie Database".

January 01, 1970
cinema, italy, this, article, multiple, issues, please, help, improve, discuss, these, issues, talk, page, learn, when, remove, these, template, messages, this, article, tone, style, reflect, encyclopedic, tone, used, wikipedia, wikipedia, guide, writing, bett. This article has multiple issues Please help improve it or discuss these issues on the talk page Learn how and when to remove these template messages This article s tone or style may not reflect the encyclopedic tone used on Wikipedia See Wikipedia s guide to writing better articles for suggestions June 2023 Learn how and when to remove this message This article may contain an excessive amount of intricate detail that may interest only a particular audience Please help by spinning off or relocating any relevant information and removing excessive detail that may be against Wikipedia s inclusion policy June 2023 Learn how and when to remove this message Learn how and when to remove this message The cinema of Italy Italian cinema italiano pronounced ˈtʃiːnema itaˈljaːno comprises the films made within Italy or by Italian directors Italy is one of the birthplaces of art cinema and the stylistic aspect of film has been one of the most important factors in the history of Italian film 5 6 As of 2018 Italian films have won 14 Academy Awards for Best Foreign Language Film as well as 12 Palmes d Or one Academy Award for Best Picture and many Golden Lions and Golden Bears Cinema of ItalyA collage of notable Italian actors and filmmakers a No of screens3 217 2013 1 Per capita5 9 per 100 000 2013 1 Main distributorsMedusa Film 16 7 Warner Bros 13 8 20th Century Studios 13 7 2 Produced feature films 2018 3 Total273Fictional180Documentary93Number of admissions 2018 3 Total85 900 000 Per capita1 50 2012 4 National films19 900 000 23 17 Gross box office 2018 3 Total 555 millionNational films 128 million 23 03 The history of Italian cinema began a few months after the Lumiere brothers began motion picture exhibitions 7 8 The first Italian director is considered to be Vittorio Calcina a collaborator of the Lumiere Brothers who filmed Pope Leo XIII in 1896 The first films were made in the main cities of the Italian peninsula 7 8 These brief experiments immediately met the curiosity of the general public encouraging operators to produce new films and laying the foundation for a true film industry 7 8 In the early 20th century silent cinema developed bringing numerous Italian stars to the forefront 9 In the early 1900s epic films such as Otello 1906 The Last Days of Pompeii 1908 L Inferno 1911 Quo Vadis 1913 and Cabiria 1914 were made as adaptations of books or stage plays The oldest European avant garde cinema movement Italian futurism emerged in the late 1910s 10 After a period of decline in the 1920s the Italian film industry was revitalized in the 1930s with the arrival of sound film A popular Italian genre during this period the Telefoni Bianchi consisted of comedies with glamorous backgrounds Calligrafismo was in sharp contrast to Telefoni Bianchi American style comedies and is rather artistic highly formalistic expressive in complexity and deals mainly with contemporary literary material While Italy s Fascist government provided financial support for the nation s film industry notably the construction of the Cinecitta studios the largest film studio in Europe it also engaged in censorship and thus many Italian films produced in the late 1930s were propaganda films The end of World War II saw the birth of the influential Italian neorealist movement which reached vast audiences throughout the post war period 11 and which launched the directorial careers of Luchino Visconti Roberto Rossellini and Vittorio De Sica Neorealism declined in the late 1950s in favour of lighter films such as those of the Commedia all italiana genre and directors like Federico Fellini and Michelangelo Antonioni Actresses such as Sophia Loren Giulietta Masina Claudia Cardinale Monica Vitti Anna Magnani and Gina Lollobrigida achieved international stardom during this period 12 From the mid 1950s to the end of the 1970s Commedia all italiana and many other genres arose due to auteur cinema and Italian cinema reached a position of great prestige both nationally and abroad 13 14 The Spaghetti Western achieved popularity in the mid 1960s peaking with Sergio Leone s Dollars Trilogy which featured enigmatic scores by composer Ennio Morricone which have become icons of the Western genre Italian thrillers or giallo produced by directors such as Mario Bava and Dario Argento in the 1960s and 1970s influenced the horror genre worldwide During the 1980s and 1990s directors such as Ermanno Olmi Bernardo Bertolucci Giuseppe Tornatore Gabriele Salvatores and Roberto Benigni brought critical acclaim back to Italian cinema 12 The Venice Film Festival is the oldest film festival in the world held annually since 1932 and awarding the Golden Lion 15 In 2008 the Venice Days Giornate degli Autori a section held in parallel to the Venice Film Festival has produced in collaboration with Cinecitta studios and the Ministry of Cultural Heritage a list of a 100 films that have changed the collective memory of the country between 1942 and 1978 the 100 Italian films to be saved Contents 1 History 1 1 1890s 1 2 1900s 1 3 1910s 1 4 1920s 1 5 1930s 1 5 1 Cinecitta 1 5 2 Telefoni Bianchi 1 5 3 Fascist propaganda 1 6 1940s 1 6 1 Propaganda 1 6 2 Calligrafismo 1 6 3 Animation 1 6 4 Neorealism 1 7 1950s 1 7 1 Pink neorealism 1 7 2 Don Camillo and Peppone 1 7 3 Hollywood on the Tiber 1 7 4 Sword and sandal a k a Peplum 1 8 1960s 1 8 1 Musicarelli 1 8 2 Commedia all Italiana 1 8 3 Spaghetti Western 1 8 4 Giallo 1 8 5 Social and political cinema 1 9 1970s 1 9 1 Poliziotteschi 1 9 2 Bud Spencer and Terence Hill 1 9 3 Commedia sexy all italiana 1 9 4 Fantozzi 1 9 5 Sceneggiata 1 10 1980s 1 11 1990s 1 12 2000s 1 13 2010s 1 14 2020s 2 100 Italian films to be saved 3 Cinematheques 4 Museums 5 Italian Academy Award winners 6 Festivals and film awards 7 Directors 8 Actors and actresses 9 See also 10 Notes 11 References 12 Bibliography 13 External linksHistory edit1890s edit source source source source source source Video of Sua Santita papa Leone XIII His Holiness Pope Leo XIII the most famous film by Vittorio Calcina the first Italian film director in history shot on 26 February 1896 16 The first Italian director is considered to be Vittorio Calcina a collaborator of the Lumiere Brothers who filmed Pope Leo XIII on 26 February 1896 in the short film Sua Santita papa Leone XIII His Holiness Pope Leo XIII 16 As the official photographer of the House of Savoy 17 he filmed the first Italian film Sua Maesta il Re Umberto e Sua Maesta la Regina Margherita a passeggio per il parco a Monza His Majesty the King Umberto and Her Majesty the Queen Margherita strolling through the Monza Park 18 In 1895 Filoteo Alberini patented his kinetograph a shooting and projecting device not unlike that of the Lumiere brothers 12 19 source source source source source source Video of Il finto storpio al Castello Sforzesco The fake cripple at the Castello Sforzesco by Italo Pacchioni 1896 The Lumiere brothers commenced public screenings in Italy in 1896 20 21 Italian Lumiere trainees produced short films documenting everyday life and comic strips in the late 1890s and early 1900s The success of the short films was immediate Titles of the time include Arrivo del treno alla Stazione di Milano Arrival of the train at Milan station 1896 La battaglia di neve The snow battle 1896 and La gabbia dei matti The madmen s cage 1896 all shot by Italo Pacchioni who also invented a camera and projector inspired by the cinematograph of Lumiere brothers 22 Although the general public were enthusiastic initially the technology was snubbed by intellectuals and the press 23 However on 28 January 1897 prince Victor Emmanuel and princess Elena of Montenegro attended a screening at the Pitti Palace in Florence 24 Interested in experimenting with the new medium they were filmed in Florence and on the day of their wedding in at the Pantheon in Rome 25 26 1900s edit nbsp The logo of Cines with the Capitoline Wolf in the centre In the early 20th century the phenomenon of itinerant cinemas developed throughout Italy 27 The nascent Italian cinema therefore is still linked to the traditional shows of the commedia dell arte or to those typical of circus folklore Public screenings took place in the streets in cafes or in variety theatres in the presence of a swindler who has the task of promoting and enriching the story 28 Between 1903 and 1909 the itinerant Italian cinema began assuming the characteristics of an authentic industry led by four major organizations Titanus originally Monopolio Lombardo the first italian film production company 29 the largest and among the most famous film houses in Italy 30 founded by Gustavo Lombardo at Naples in 1904 Cines based in Rome and the Turin based companies Ambrosio Film and Itala Film 21 Other companies soon followed in Milan and these early companies quickly attained a respectable production quality and were able to market their products both within Italy and abroad Early Italian films typically consisted of adaptations of books or stage plays such as Mario Caserini s Otello 1906 and Arturo Ambrosio s 1908 The Last Days of Pompeii Also popular during this period were films about historical figures for instance Ugo Falena s Lucrezia Borgia 1910 source source source source source Video of La presa di Roma The Capture of Rome by Filoteo Alberini 1905 six minute version In 1905 Cines inaugurated the genre of the historical film One of the first of these films was La presa di Roma 1905 lasting 10 minutes and made by Filoteo Alberini The operator employs for the first time actors of theatrical origin The film assimilating Manzoni s lesson of making historical fiction plausible reconstructs the Capture of Rome on 20 September 1870 Dozens of characters from texts make their appearance on the big screen such as The Count of Monte Cristo and Giordano Bruno among others 21 1910s edit nbsp Lost in the Dark by Nino Martoglio 1914 considered a precursor to the Italian neorealism movement of the 1940s and 1950s 12 nbsp Quo Vadis 1913 regarded as one of the first blockbusters in the history of cinema nbsp Cabiria 1914 the first epic film ever made In the 1910s the Italian film industry developed rapidly 31 In 1912 569 films were produced in Turin 420 in Rome and 120 in Milan 32 Lost in the Dark 1914 a silent drama film directed by Nino Martoglio documented life in the slums of Naples and is considered a precursor to the Italian neorealism movement of the 1940s and 1950s 12 The archetypes of the historical blockbuster genre were The Last Days of Pompeii 1908 by Arturo Ambrosio and Luigi Maggi and Nero 1909 by Maggi and Arrigo Frusta 33 Enrico Guazzoni s 1913 film Quo Vadis was one of the first blockbusters using thousands of extras and a lavish set design 34 The international success of the film marked the maturation of the genre and allowed Guazzoni to make increasingly spectacular films such as Antony and Cleopatra 1913 and Julius Caesar 1914 Giovanni Pastrone s 1914 film Cabiria was an even larger production it was the first epic film ever made and it is considered the most famous Italian silent film 31 35 Pastrone s plan to adapt the Bible with thousands of extras remained unfulfilled but Antamoro s Christus 1916 and Guazzoni s The Crusaders 1918 were notable films with Christian subjects Many films were devoted to the investigative and mystery formats The most prolific production houses in the 1910s were Cines Ambrosio Film Itala Film Aquila Films and Milano Films Classic narrative elements of the silent proto giallo mystery crime investigation investigative and final twist constitute the structural aspects of cinematic representation nbsp Cenere by Febo Mari 1917 Between 1913 and 1920 there was the rise development and decline of the phenomenon of cinematographic stardom born with the release of Ma l amor mio non muore 1913 by Mario Caserini The film had great success with the public and encoded the aesthetics of female stardom Within just a few years Eleonora Duse Pina Menichelli Rina De Liguoro Leda Gys Hesperia Vittoria Lepanto Mary Cleo Tarlarini and Italia Almirante Manzini established themselves Films such as Fior di male 1914 by Carmine Gallone Il fuoco 1915 by Giovanni Pastrone Rapsodia satanica 1917 by Nino Oxilia and Cenere 1917 by Febo Mari changed the model away from naturalism in favor of melodramatic acting pictorial gesture and theatrical pose all favored by the extensive use of close up 36 37 The most successful comedian in Italy was Andre Deed better known in Italy as Cretinetti star of comic short film for Itala Film Its success paved the way for Marcel Fabre Robinet Ernesto Vaser Fricot and many others Ferdinand Guillaume became famous with the stage name of Polidor 38 Protagonists of Italian comedians never place themselves in open contrast with society or embody the desire for social revenge as happens for example with Charlie Chaplin but rather tried to integrate into a strongly desired world 39 nbsp Thais by Anton Giulio Bragaglia 1917 Italian futurist cinema was the oldest movement of European avant garde cinema 10 Italian futurism an artistic and social movement impacted the Italian film industry from 1916 to 1919 40 It influenced Russian Futurist 41 and German Expressionist cinema 42 Its cultural importance was considerable and influenced all subsequent avant gardes as well as some authors of narrative cinema its echo expands to the dreamlike visions of some films by Alfred Hitchcock 43 Futurism emphasized dynamism speed technology youth violence and objects such as the car the airplane and the industrial city Its key figures were the Italians Filippo Tommaso Marinetti Umberto Boccioni Carlo Carra Fortunato Depero Gino Severini Giacomo Balla and Luigi Russolo It glorified modernity and aimed to liberate Italy from the weight of its past 44 The 1916 Manifesto of Futuristic Cinematography was signed by Filippo Tommaso Marinetti Armando Ginna Bruno Corra Giacomo Balla and others To the Futurists cinema was an ideal art form being a fresh medium and able to be manipulated by speed special effects and editing Most of the futuristic themed films of this period have been lost but critics cite Thais 1917 by Anton Giulio Bragaglia as one of the most influential serving as the main inspiration for German Expressionist cinema in the following decade The Italian film industry struggled against rising foreign competition in the years following World War I 12 Several major studios among them Cines and Ambrosio formed the Unione Cinematografica Italiana to coordinate a national strategy for film production This effort was largely unsuccessful however due to a wide disconnect between production and exhibition some movies were not released until several years after they were produced 45 1920s edit nbsp A Santanotte by Elvira Notari 1922 nbsp Sun by Alessandro Blasetti 1929 With the end of World War I Italian cinema suffered from production disorganization increased costs technological backwardness loss of foreign markets and inability to cope with Hollywood 46 The first half of the 1920s marked a sharp decrease in production from 350 films produced in 1921 to 60 in 1924 47 The main causes included the lack of a generational change with a production still dominated by filmmakers and producers of literary training such that literature and theatre were still preferred media Sentimental cinema for women spread centred on figures on the margins of society It was conservative cinema tied to social rules upset by the war and in the process of dissolution throughout Europe An exemple is A Woman s Story 1920 by Eugenio Perego which is a 19th century morality with melodramatic tones 48 A new genre developed in a realist setting like work by the first female director of Italian cinema Elvira Notari 49 and Lost in the Dark 1914 by director Nino Martoglio 50 The revival of Italian cinema took place at the end of the 1920s The productions were larger in scale and addressed peasant topics hitherto practically absent in Italian cinema Sun 1929 by Alessandro Blasetti reflects influence from Soviet and German avant gardes 51 The movement was above all an emancipation from literary models and a turn to more popular taste 1930s edit nbsp The Song of Love by Gennaro Righelli 1930 the first Italian talking picture The sound cinema arrived in Italy in 1930 three years after the release of The Jazz Singer 1927 and immediately led to a debate on the validity of spoken cinema and its relationship with the theatre Some directors enthusiastically face the new challenge The advent of talkies led to stricter censorship by the Fascist government 12 The first Italian talking picture was The Song of Love 1930 by Gennaro Righelli which was a great success with the public Alessandro Blasetti also experimented with the use of an optical track for sound in the film Resurrection 1931 shot before The Song of Love but released a few months later 52 Similar to Righelli s film is What Scoundrels Men Are 1932 by Mario Camerini which has the merit of making Vittorio De Sica debut on the screens Historical films such as Blasetti s 1860 1934 and Carmine Gallone s Scipio Africanus The Defeat of Hannibal 1937 were also popular during this period 12 With the transition to sound cinema most of the Italian silent film actors still linked to theatrical stylization find themselves disqualified The era of divas dandies and strongmen who barely survived the 1920s is definitely over Even if some performers will move on to directing or producing the arrival of sound favours the generational change and the consequent modernization of the structures Italian born director Frank Capra received three Academy Awards for Best Director for the films It Happened One Night 1934 the first Big Five winner at the Academy Awards Mr Deeds Goes to Town 1936 and You Can t Take It with You 1938 In 1932 the Venice Film Festival was established It is today the world s oldest film festival Alongside the Cannes and Berlin Festivals it is has shaped film history 53 54 55 56 Cinecitta edit Main article Cinecitta nbsp Entrance to the Cinecitta in Rome the largest film studio in Europe 57 In 1934 the Fascist Italian government created the General Directorate for Cinema Direzione Generale per la Cinematografia and appointed Luigi Freddi its director A town was developed southeast of Rome devoted exclusively to cinema and dubbed the Cinecitta Cinema City The project was clearly aware of film s value as a propaganda tool 58 59 60 Mussolini himself inaugurated the studios on 28 April 1937 61 Films such as Scipio Africanus 1937 and The Iron Crown 1941 showcased the technological capacities of the studios Seven thousand people were involved in filming a battle scene from Scipio Africanus and live elephants were brought in as a part of the re enactment of the Battle of Zama 62 The Cinecitta studios were Europe s most advanced production facilities and greatly boosted the technical quality of Italian films 12 Many films are still shot entirely in Cinecitta 63 Telefoni Bianchi edit Main article Telefoni Bianchi nbsp Department Store by Mario Camerini 1939 During the 1930s light comedies known as Telefoni Bianchi white telephones were predominant in Italian cinema 12 These films featured lavish set designs and promoted conservative values which made them popular with censors Numerous screenwriters including Cesare Zavattini and Sergio Amidei and set designers Guido Fiorini Gino Carlo Sensani and Antonio Valente established themselves by working on Telefoni films 64 65 The first film of the genre Telefoni Bianchi was The Private Secretary 1931 by Goffredo Alessandrini 66 Others include Schoolgirl Diary 1941 and A Thousand Lire a Month 1939 Fascist propaganda edit See also Propaganda in Fascist Italy nbsp The Old Guard by Alessandro Blasetti 1934 One of the major films of Italian fascist propaganda cinema was Black Shirt 1933 by Giovacchino Forzano made for the 10th anniversary of the March on Rome With political consolidation government authorities required the film industry to focus more on Italy s history and culture This trend reached its peak just before the war with Cavalry 1936 by Goffredo Alessandrini evoking the nobility of the Savoy fighters from the Risorgimento as anticipations of Fascist squads Condottieri 1937 by Luis Trenker tells the story of Giovanni delle Bande Nere as a sort of parallel with Benito Mussolini Scipio Africanus The Defeat of Hannibal 1937 was one of the greatest financial efforts of the time it implicity compares the Roman Empire to the Fascist Empire 67 The invasion of Ethiopia gave Italian directors the opportunity to extend the horizons of the settings 68 Both The Great Appeal 1936 and Lo squadrone bianco 1936 exalt imperialism The Spanish Civil War is described most spectacularly in The Siege of the Alcazar 1940 67 nbsp Men of the Mountain by Aldo Vergano 1943 1940s edit Propaganda edit With Italy s participation in World War II the fascist regime further strengthens its control over production and requires a more decisive commitment to propaganda In addition to the now canonical documentaries short films and newsreels there is also an increase in feature films in praise of Italian war efforts Among the most representative are Bengasi 1942 by Genina Gente dell aria 1943 by Esodo Pratelli The Three Pilots 1942 by Mario Mattoli based on a screenplay by Vittorio Mussolini Il treno crociato 1943 by Carlo Campogalliani Harlem 1943 by Carmine Gallone and Men of the Mountain 1943 by Aldo Vergano under the supervision of Blasetti Uomini sul fondo 1941 by Francesco De Robertis is also notable due to its almost documentary approach 69 The most successful film of the period is We the Living 1942 by Goffredo Alessandrini made as a single film but then distributed in two parts due to its excessive length Referable to the genre of anti communist drama this sombre melodrama set in the Soviet Union is inspired by the novel of the same name by the writer Ayn Rand which exalts philosophical individualism 70 Among the propaganda directors there is also Roberto Rossellini author of a trilogy composed of The White Ship 1941 A Pilot Returns 1942 and The Man with a Cross 1943 70 Calligrafismo edit Main article Calligrafismo nbsp Tragic Night by Mario Soldati 1942 The Calligrafismo style contrasts American style comedies because of its formalistic expressive manner and its interest in contemporary literary texts taken from Italian realists 71 The best known exponent of this genre is Mario Soldati whose characters often show psychological strength and master internal conflicts Another important example of a calligraphic film is The Betrothed 1941 which became the most popular feature film in 1941 and 1942 72 Animation edit nbsp Bruno Bozzetto The pioneer of the Italian cartoon was Francesco Guido better known as Gibba Immediately after World War II he produced the first animated medium length Italian film 73 In 1949 The Dynamite Brothers followed It was released in a package with La Rosa di Bagdad 1949 73 Neorealism edit Main articles Italian neorealism and Women in Italian neorealism nbsp Vittorio De Sica a leading figure in the neorealist movement and one of the world s most acclaimed and influential filmmakers of all time 74 Neorealist films typically dealt with the working class and were shot on location There were several important precursors to the movement like What Scoundrels Men Are 1932 and Four Steps in the Clouds 1942 75 nbsp Roberto Rossellini and Mario Monicelli winning the Golden Lion for General Della Rovere and The Great War respectively They were not successful in Fascist controlled parts of Italy but after the war Italian neorealism was influential at the international level Still neorealist films made up only a small percentage of Italian films produced during this period Postwar Italian moviegoers preferred escapist comedies starring actors like Toto and Alberto Sordi 75 Neorealist works such as Roberto Rossellini s trilogy Rome Open City 1945 Paisa 1946 and Germany Year Zero 1948 with professional actors such as Anna Magnani and a number of non professional actors attempted to describe the difficult economic and moral conditions of postwar Italy and the changes in public mentality in everyday life Visconti s The Earth Trembles 1948 was shot on location in a Sicilian fishing village and used locals as actors Poetry and cruelty of life were harmonically combined in the works that Vittorio De Sica wrote and directed together with screenwriter Cesare Zavattini among them were Shoeshine 1946 and The Bicycle Thief 1948 The 1952 film Umberto D about a beggar with his dog is perhaps De Sica s masterpiece 76 It embodies both a conservative and a progressive view of post war society 76 nbsp Ossessione 1943 by Luchino Visconti nbsp A still shot from Rome Open City 1945 by Roberto Rossellini nbsp Bicycle Thieves 1948 by Vittorio De Sica entered the canon of classic cinema 77 1950s edit nbsp Massimo Girotti e Lucia Bose in Story of a Love Affair by Michelangelo Antonioni 1950 The mid 1950s saw more and more Italian films tackling existential topics they were often more introspective than descriptive 78 Michelangelo Antonioni was the first to establish himself and he became a reference for contemporary cinema 79 His first work Story of a Love Affair 1950 breaks with neorealism 79 He investigates the world of the Italian bourgeoisie with a critical eye in films like I Vinti 1952 The Lady Without Camelias 1953 and Le Amiche 1955 Federico Fellini s La Strada 1954 and Pier Paolo Pasolini s first film Accattone 1961 are also considered neorealist 75 This period is also referred to as The Golden Age of Italian cinema nbsp Toto in Toto and the King of Rome by Mario Monicelli and Steno 1952 In commercial productions the phenomenon of Toto was born This Neapolitan actor is acclaimed as the major Italian comedian His films often with Aldo Fabrizi Peppino De Filippo and almost always with Mario Castellani expressed a sort of neorealistic satire 80 Toto is one of the symbols of the cinema of Naples 81 Pink neorealism edit nbsp Pane amore e fantasia by Luigi Comencini 1953 Although Umberto D is considered the end of the neorealist period subsequent works turned toward lighter sweetened and mildly optimistic atmospheres more coherent with the improving conditions of Italy just before the economic boom this genre became known as pink neorealism nbsp Poveri ma belli by Dino Risi 1957 Notable films of pink neorealism which combine popular comedy and realist motifs are Pane amore e fantasia 1953 by Luigi Comencini and Poveri ma belli 1957 by Dino Risi both works are in perfect harmony with the evolution of the Italian costume 82 The large influx at the box office from the two films remained almost unchanged in the sequels Bread Love and Jealousy 1954 Scandal in Sorrento 1955 and Pretty But Poor 1957 also directed by Luigi Comencini and Dino Risi Actresses who excelled in this genre included international celebrities such as Sophia Loren and Gina Lollobrigida Don Camillo and Peppone edit Main article Don Camillo and Peppone nbsp Gino Cervi and Fernandel in Don Camillo Monsignor by Carmine Gallone 1961 A series of black and white films based on the Don Camillo and Peppone characters created by journalist Giovannino Guareschi were made between 1952 and 1965 These were French Italian coproductions and starred Fernandel as the Italian priest Don Camillo and Gino Cervi as Giuseppe Peppone Bottazzi the Communist mayor of their rural town The movies were hugely successful In 1952 Little World of Don Camillo was the highest grossing film in both Italy and France 83 while The Return of Don Camillo was the second most popular film of 1953 at the Italian and French box office 84 Hollywood on the Tiber edit Main article Hollywood on the Tiber nbsp American film Ben Hur by William Wyler 1959 was shot at the Cinecitta studios and on location around Rome Hollywood on the Tiber describes the period in the 1950s and 1960s when Rome emerged as a major location for international filmmaking 57 These movies were made in English for global release and many enjoyed widespread popularity Large budget films shot at Cinecitta include Quo Vadis 1951 Roman Holiday 1953 Ben Hur 1959 and Cleopatra 1963 85 nbsp Quo Vadis by Mervyn LeRoy 1951 nbsp Gregory Peck and Audrey Hepburn in Roman Holiday by William Wyler 1953 nbsp Richard Burton and Elizabeth Taylor in Cleopatra by Joseph L Mankiewicz 1963 Sword and sandal a k a Peplum edit Main article Sword and sandal nbsp Hercules by Pietro Francisci 1958 Sword and sandal is a subgenre of historical mythological or biblical epics These films attempted to emulate the big budget Hollywood historical epics of the time 86 With the release of 1958 s Hercules starring American bodybuilder Steve Reeves the genre was established with both European and American audiences New directors such as Sergio Leone and Mario Bava broke into film with these films Most sword and sandal films were in colour a novelty 1960s edit nbsp Marcello Mastroianni in 8 1963 by Federico Fellini considered to be one of the greatest films of all time 87 Federico Fellini dominated this decade He won the Palme d Or for La Dolce Vita was nominated for more Academy Awards than any director in the history of the academy His other well known films include La Strada 1954 Nights of Cabiria 1957 Satyricon 1969 and Fellini s Casanova 1976 88 Franco and Ciccio were a comedy duo formed by Italian actors Franco Franchi and Ciccio Ingrassia particularly popular in the 1960s and 1970s Together they appeared in 116 films usually as the main characters 89 Musicarelli edit Main article Musicarello nbsp Al Bano and Romina Power in Nel sole by Aldo Grimaldi 1967 Musicarello pl musicarelli is a film subgenre which emerged in Italy and which is characterised by the presence in main roles of young singers already famous among their peers and their new record album The genre began in the late 1950s and had its peak of production in the 1960s 90 The film which started the genre is considered to be I ragazzi del Juke Box by Lucio Fulci 1959 91 The musicarelli were inspired by two American musicals in particular Jailhouse Rock by Richard Thorpe 1957 and earlier Love Me Tender by Robert D Webb 1956 both starring Elvis Presley 92 93 94 At the heart of the musicarello is a hit song or a song that the producers hoped would become a hit that usually shares its title with the film itself and sometimes has lyrics depicting a part of the plot 95 In the films there are almost always tender and chaste love stories accompanied by the desire to have fun and dance without thoughts 96 Musicarelli reflect the desire and need for emancipation of young Italians highlighting some generational frictions 92 With the arrival of the 1968 student protests the genre started to decline because the generational revolt became explicitly political and at the same time there was no longer music equally directed to the whole youth audience 97 For some time the duo Al Bano and Romina Power continued to enjoy success in musicarello films but their films like their songs were a return to the traditional melody and to the musical films of the previous decades 97 Commedia all Italiana edit Main article Commedia all Italiana nbsp Divorce Italian Style by Pietro Germi 1961 Commedia all italiana Comedy in the Italian way was a genre that developed from the 1950s to the 1970s It derives its name from the title of Pietro Germi s Divorce Italian Style 1961 98 The term indicates a period in which the Italian film industry was producing many successful comedies about controversial social issues like sexual behavior divorce contraception and the traditional religious influence of the Catholic Church 99 nbsp Be Sick It s Free by Luigi Zampa 1968 nbsp My Friends by Mario Monicelli 1975 An entire generation of great actors contributed to the films Ugo Tognazzi Marcello Mastroianni and Nino Manfredi are among them 100 Dino Risi garnered fame for directing Una vita difficile A Difficult Life then Il Sorpasso The Easy Life now a cult movie Many others followed Spaghetti Western edit Main article Spaghetti Western nbsp Sergio Leone widely regarded as one of the most influential directors in the history of cinema 101 102 On the heels of the sword and sandal craze a related genre the Spaghetti Western arose These films differed from traditional westerns because they were filmed in Europe produced and directed by Italians 103 The most director was Sergio Leone credited as the inventor of the genre 104 105 His A Fistful of Dollars was an unauthorized remake of the Japanese film Yojimbo by Akira Kurosawa The Good the Bad and the Ugly featured Clint Eastwood and notorious music by Ennio Morricone Giallo edit Main article Giallo nbsp Mario Bava referred to as the Master of Italian Horror 106 and the Master of the Macabre 107 nbsp Dario Argento referred to as the Master of the Thrill 108 and the Master of Horror 109 During the 1960s and 1970s Italian filmmakers Mario Bava Riccardo Freda Antonio Margheriti and Dario Argento developed giallo plural gialli from giallo Italian for yellow horror films that become classics and influenced the genre in other countries Representative films include The Girl Who Knew Too Much 1963 Castle of Blood 1964 The Bird with the Crystal Plumage 1970 Twitch of the Death Nerve 1971 Deep Red 1975 and Suspiria 1977 Giallo is a genre of mystery fiction and thrillers and often contains slasher crime fiction psychological thriller psychological horror sexploitation and less frequently supernatural horror elements 110 Giallo developed in the mid to late 1960s peaked in popularity during the 1970s and subsequently declined in commercial mainstream filmmaking over the next few decades though examples continue to be produced It was a predecessor to and had significant influence on the later American slasher film genre 111 Giallo usually blends the atmosphere and suspense of thriller fiction with elements of horror fiction such as slasher violence and eroticism similar to the French fantastique genre and often involves a mysterious killer whose identity is not revealed until the final act of the film Most critics agree that the giallo represents a distinct category with unique features 112 but there is some disagreement on what exactly defines a giallo film 113 nbsp The Girl Who Knew Too Much by Mario Bava 1963 considered by most critics to be the first giallo film 114 Giallo films are generally gruesome murder mystery thrillers that combine the suspense elements of detective fiction with scenes of shocking horror The archetypal giallo plot involves a mysterious black gloved killer who stalks and kills women 115 While most gialli involve a human killer some also feature a supernatural element 116 The protagonists are often unconnected to the murders before they begin they get drawn in as witnesses 116 nbsp A scene from Blood and Black Lace by Mario Bava 1964 nbsp The Bird with the Crystal Plumage by Dario Argento 1970 nbsp Giuliana Calandra in a famous scene from Deep Red by Dario Argento 1975 Social and political cinema edit The auteur cinema of the 1960s included an authorial vision that was less surreal and existential and more political it sought to denounce corruption and malfeasance 117 both in politics and industry nbsp Gian Maria Volonte and Florinda Bolkan in Investigation of a Citizen Above Suspicion by Elio Petri 1970 In 1962 Francesco Rosi 118 inaugurated an investigation film project retracing through a series of long flashbacks the life of a Sicilian criminal the title figure in Salvatore Giuliano The following year he directed Rod Steiger in Hands over the City 1963 this film was a denuciation of corruption in real estate and construction companies in Naples The film was awarded the Golden Lion at the Venice Film Festival 1970s edit nbsp Marcello Mastroianni and Sophia Loren in A Special Day by Ettore Scola 1977 In the 1970s the work done by the director Lina Wertmuller was influential Together with actors Giancarlo Giannini and Mariangela Melato she made several films and with Seven Beauties 1976 she obtained four nominations for the Academy Awards That made her the first woman to be nominated for best director 119 Ettore Scola made his directorial debut in 1964 with Let s Talk About Women In 1974 he directed his best known film We All Loved Each Other So Much Other films include Down and Dirty 1976 starring Nino Manfredi and A Special Day 1977 starring Sophia Loren and Marcello Mastroianni 120 In the 1970s after many animated documentaries Gibba returned to the feature film with the erotic Il nano e la strega 1973 and Il racconto della giungla 1974 Emanuele Luzzati contributed what is considered citation needed one of the masterpieces of Italian animation Il flauto magico The Magic Flute 1976 based on Mozart s opera After many satirical short films centred on the popular figure of Signor Rossi Bruno Bozzetto returned to the feature film with what is considered citation needed his most ambitious work Allegro Non Troppo 1977 Inspired by Disney s Fantasia it is a mixed media film in which animated episodes are combined with classical music pieces Another notable illustrator was Pino Zac who in 1971 shot again with mixed technique The Nonexistent Knight based on the novel of the same name by Italo Calvino One of Francesco Rosi s most famous films of denunciation is The Mattei Affair 1972 a documentary into the mysterious disappearance of Enrico Mattei The film won the Palme d Or at the Cannes Film Festival It became together with Illustrious Corpses 1976 a model for similar denunciation films produced both in Italy and abroad Famous films of denunciation by Elio Petri are The Working Class Goes to Heaven 1971 a corrosive denunciation of life in the factory winner of the Palme d Or at Cannes and Investigation of a Citizen Above Suspicion 1970 The latter accompanied by a soundtrack by Ennio Morricone is a dry psychoanalytic thriller centred on the aberrations of power 121 The film won the Academy Award for Best International Feature Film the following year Poliziotteschi edit Main article Poliziotteschi nbsp Caliber 9 by Fernando Di Leo 1972 Poliziotteschi films constitute a subgenre of crime and action films that emerged in Italy in the late 1960s and reached the height of their popularity in the 1970s They are also known as polizieschi all italiana Euro crime Italo crime spaghetti crime films or simply Italian crime films Influenced by both 1970s French crime films and gritty 1960s and 1970s American cop films and vigilante films 122 poliziotteschi films were made amidst an atmosphere of socio political turmoil in Italy and increasing Italian crime rates The films generally featured graphic and brutal violence organized crime car chases vigilantism heists gunfights and corruption The protagonists were generally tough working class loners willing to act outside a corrupt or overly bureaucratic system 123 Notable international actors who acted in this genre of films include Alain Delon Henry Silva Fred Williamson Charles Bronson Tomas Milian and others Bud Spencer and Terence Hill edit Main article Terence Hill and Bud Spencer nbsp Bud Spencer and Terence Hill in They Call Me Trinity by Enzo Barboni 1970 Also considered Spaghetti Westerns is a film genre which combined traditional western ambience with a Commedia all italiana type comedy Films in this genre included They Call Me Trinity 1970 and Trinity Is Still My Name 1971 both by Enzo Barboni which featured Bud Spencer and Terence Hill the stage names of Carlo Pedersoli and Mario Girotti Terence Hill and Bud Spencer made numerous films together 124 Most of their early films were Spaghetti Westerns beginning with God Forgives I Don t 1967 the first part of a trilogy followed by Ace High 1968 and Boot Hill 1969 but they also starred in comedies such as All the Way Boys 1972 and Watch Out We re Mad 1974 The next films shot by the couple of actors almost all comedies were Two Missionaries 1974 Crime Busters 1977 Odds and Evens 1978 I m for the Hippopotamus 1979 Who Finds a Friend Finds a Treasure 1981 Go for It 1983 Double Trouble 1984 Miami Supercops 1985 and Troublemakers 1994 Commedia sexy all italiana edit Main article Commedia sexy all italiana nbsp La moglie vergine by Marino Girolami 1975 Commedia sexy all italiana is characterized typically by female nudity and comedy and by the minimal weight given to social criticism that was the basic ingredient of the main commedia all italiana genre 125 Stories are often set in affluent environments such as wealthy households It is closely connected to the sexual revolution For the first time films with female nudity could be watched at the cinema Pornography and scenes of explicit sex were still forbidden in Italian cinemas but partial nudity was somewhat tolerated The genre has been described as a cross between bawdy comedy and humorous erotic film with ample slapstick elements which follow more or less cliched storylines During this time commedia sexy all italiana films described by the film critics of the time as not artistic or trash films were very popular in Italy Today they are widely re evaluated and have become cult movies They also allowed the producers of Italian cinema to have enough revenue to produce successful artistic films These comedy films were of little artistic value and reached their popularity by confronting Italian social taboos most notably in the sexual sphere Actors such as Lando Buzzanca Lino Banfi Renzo Montagnani Alvaro Vitali Gloria Guida Barbara Bouchet and Edwige Fenech owe much of their popularity to these films Fantozzi edit Main article Ugo Fantozzi nbsp Paolo Villaggio as Ugo Fantozzi in Fantozzi by Luciano Salce 1975 The films starring Ugo Fantozzi a character invented by Paolo Villaggio for his television sketches and newspaper short stories also fell within the comic satirical comedy genre 126 Although Villaggio s movies tend to bridge comedy with a more elevated social satire this character had a significant impact on Italian society to such a degree that the adjective fantozziano entered the lexicon 127 Ugo Fantozzi represents the archetype of the average Italian of the 1970s middle class with a simple lifestyle with the anxieties common to an entire class of workers 128 being re evaluated by critics 129 Of the many films telling of Fantozzi s misadventures the most notable and famous were Fantozzi 1975 and Il secondo tragico Fantozzi 1976 both directed by Luciano Salce Sceneggiata edit Main article Sceneggiata nbsp Sgarro alla camorra by Ettore Maria Fizzarotti 1973 The sceneggiata pl sceneggiate or sceneggiata napoletana is a form of musical drama typical of Naples Beginning as a form of musical theatre after World War I it was also adapted for cinema sceneggiata films became especially popular in the 1970s and contributed to the genre becoming more widely known outside Naples 130 The most famous actors who played dramas were Mario Merola Mario Trevi and Nino D Angelo 131 The sceneggiata can be described as a musical soap opera where action and dialogue are interspersed with Neapolitan songs Plots revolve around melodramatic themes drawing from the Neapolitan culture and tradition including passion jealousy betrayal personal deceit and treachery honour vengeance and life in the world of petty crime Songs and dialogue were originally in Neapolitan dialect although especially in film production Italian has sometimes been preferred to reach a larger audience Sgarro alla camorra i e Offence to the Camorra 1973 written and directed by Ettore Maria Fizzarotti and starring Mario Merola at his film debut is regarded as the first sceneggiata film and as a prototype for the genre 132 133 1980s edit nbsp Ennio Morricone composed over 500 scores for cinema and television since 1946 134 The 1980s was a period of decline for Italian filmmaking In 1985 only 80 films were produced the least since the postwar period 135 and the total audience decreased from 525 million in 1970 to 123 million 136 The era of producers ended Carlo Ponti and Dino De Laurentiis worked abroad and Goffredo Lombardo and Franco Cristaldi were no longer key figures The crisis affected the Italian genre cinema above all which by virtue of the success of commercial television was deprived of most of its audience 137 As a result cinemas began showing mainly Hollywood films which steadily took over while many other cinemas closed Among the major artistic films of this era were La citta delle donne E la nave va Ginger and Fred by Fellini L albero degli zoccoli by Ermanno Olmi winner of the Palme d Or at the Cannes Film Festival La notte di San Lorenzo by Paolo and Vittorio Taviani Antonioni s Identificazione di una donna and Bianca and La messa e finita by Nanni Moretti Non ci resta che piangere directed by and starring both Roberto Benigni and Massimo Troisi is a cult movie in Italy Carlo Verdone actor screenwriter and film director is best known for his comedic roles in Italian classics which he also wrote and directed His career was jumpstarted by his first three successes Un sacco bello 1980 Bianco rosso e Verdone 1981 and Borotalco 1982 Francesco Nuti began his professional career as an actor in the late 1970s when he formed the cabaret group Giancattivi together with Alessandro Benvenuti and Athina Cenci Starting in 1985 he began to direct his movies scoring an immediate success with the films Casablanca Casablanca and All the Fault of Paradise 1985 Stregati 1987 Caruso Pascoski Son of a Pole 1988 Willy Signori e vengo da lontano 1990 and Women in Skirts 1991 The cinepanettoni singular cinepanettone are a series of farcical comedy films one or two of which are scheduled for release annually in Italy during the Christmas period The films were originally produced by Aurelio De Laurentiis Filmauro studio 138 For the majority of critics the Commedia all italiana waned from the beginning of the 1980s giving way to an Commedia italiana Italian comedy 139 1990s edit nbsp Roberto Benigni and Nicoletta Braschi The economic crisis that emerged in the 1980s began to ease over the next decade 140 Nonetheless the 1992 93 and 1993 94 seasons marked an all time low in the number of films made in the national market share 15 per cent in the total number of viewers under 90 million per year and in the number of cinemas 141 The effect of this industrial contraction was the disappearance of Italian genre cinema in the middle of the decade as it was no longer able to compete with the contemporary big Hollywood blockbusters mainly due to the enormous budget differences The most noted film of the period is Nuovo Cinema Paradiso for which Giuseppe Tornatore won a 1989 Oscar awarded in 1990 for Best Foreign Language Film This award was followed when Gabriele Salvatores s Mediterraneo won the same prize in 1991 Il Postino The Postman 1994 directed by the British Michael Radford and starring Massimo Troisi received five nominations at the Academy Awards including Best Picture and Best Actor for Troisi and won for Best Original Score In 1998 Roberto Benigni won three Oscars for his movie Life Is Beautiful La vita e bella Leonardo Pieraccioni made his directorial debut with The Graduates 1995 142 In 1996 he directed his breakthrough film The Cyclone which grossed Lire 75 billion at the box office 143 144 In the 1990s Italian animation entered a new phase of production due to the Turin Lanterna Magica studio which in 1996 under the direction of Enzo D Alo created the Christmas fairy tale La freccia azzurra based on a short story by Gianni Rodari The film was a success and paved the way for other feature films In fact in 1998 Lucky and Zorba based on a novel by Luis Sepulveda was distributed which attracted the favour of the public 145 2000s edit The Italian film industry regained stability and critical recognition In 1995 93 films were produced 146 while in 2005 274 films were made 147 In 2006 the national market share reached 31 per cent 148 In 2001 Nanni Moretti s film The Son s Room La stanza del figlio received the Palme d Or at the Cannes Film Festival Other noteworthy recent Italian films include Jona che visse nella balena directed by Roberto Faenza Il grande cocomero by Francesca Archibugi The Profession of Arms Il mestiere delle armi by Olmi L ora di religione by Marco Bellocchio Il ladro di bambini Lamerica The Keys to the House Le chiavi di casa by Gianni Amelio I m Not Scared Io non ho paura by Gabriele Salvatores Le Fate Ignoranti Facing Windows La finestra di fronte by Ferzan Ozpetek Good Morning Night Buongiorno notte by Marco Bellocchio The Best of Youth La meglio gioventu by Marco Tullio Giordana The Beast in the Heart La bestia nel cuore by Cristina Comencini In 2008 Paolo Sorrentino s Il Divo a biographical film based on the life of Giulio Andreotti won the Jury prize and Gomorra a crime drama film directed by Matteo Garrone won the Gran Prix at the Cannes Film Festival The director Enzo d Alo produced other films in the following years such as Momo 2001 and Opopomoz 2003 The Turin studio distributed on its behalf the films Aida of the Trees 2001 and Toto Sapore e la magica storia della pizza 2003 accompanied by a good response at the box office In 2003 the first entirely Italian animated film in computer graphics was released L apetta Giulia and Signora Vita directed by Paolo Modugno 149 2010s edit nbsp Perfect Strangers 2016 by Paolo Genovese was included in the Guinness World Records as the most remade film in cinema history with a total of 18 remakes 150 Paolo Sorrentino s The Great Beauty La Grande Bellezza won the 2014 Academy Award for Best Foreign Language Film In 2010 the first Italian animated film in 3D was made directed by Iginio Straffi entitled Winx Club 3D Magical Adventure based on the homonymous series in the meantime Enzo D Alo returned to theatres presenting his Pinocchio 2012 Cinderella the Cat 2017 taken from the text Pentamerone by Giambattista Basile won two David di Donatello s one of which was for special effects becoming the first animated film to be nominated and win in this category The two highest grossing Italian films in Italy have both been directed by Gennaro Nunziante and starred Checco Zalone Sole a catinelle 2013 with 51 8 million and Quo Vado 2016 with 65 3 million 151 152 They Call Me Jeeg a 2016 critically acclaimed superhero film directed by Gabriele Mainetti and starring Claudio Santamaria won eight David di Donatello two Nastro d Argento and a Globo d oro Gianfranco Rosi s documentary film Fire at Sea 2016 won the Golden Bear at the 66th Berlin International Film Festival Other successful 2010s Italian films include Vincere and The Traitor by Marco Bellocchio The First Beautiful Thing La prima cosa bella Human Capital Il capitale umano and Like Crazy La pazza gioia by Paolo Virzi We Have a Pope Habemus Papam and Mia Madre by Nanni Moretti Caesar Must Die Cesare deve morire by Paolo and Vittorio Taviani Don t Be Bad Non essere cattivo by Claudio Caligari Romanzo Criminale by Michele Placido that spawned a TV series Romanzo criminale La serie Youth La giovinezza by Paolo Sorrentino Suburra by Stefano Sollima Perfect Strangers Perfetti sconosciuti by Paolo Genovese Mediterranea and A Ciambra by Jonas Carpignano Italian Race Veloce come il vento and The First King Birth of an Empire Il primo re by Matteo Rovere and Tale of Tales Il racconto dei racconti Dogman and Pinocchio by Matteo Garrone Call Me by Your Name 2017 the final installment in Luca Guadagnino s thematic Desire trilogy following I Am Love 2009 and A Bigger Splash 2015 received widespread acclaim and numerous accolades including the Academy Award for Best Adapted Screenplay and the nomination for Best Picture in 2018 Perfect Strangers by Paolo Genovese was included in the Guinness World Records as it became the most remade film in cinema history with a total of 18 versions 150 2020s edit Successful 2020s Italian films include The Life Ahead by Edoardo Ponti Hidden Away by Giorgio Diritti Bad Tales by Damiano and Fabio D Innocenzo The Predators by Pietro Castellitto Padrenostro by Claudio Noce Notturno by Gianfranco Rosi The King of Laughter by Mario Martone A Chiara by Jonas Carpignano Freaks Out by Gabriele Mainetti The Hand of God by Paolo Sorrentino Nostalgia by Mario Martone Dry by Paolo Virzi The Hanging Sun by Francesco Carrozzini Bones and All by Luca Guadagnino L immensita by Emanuele Crialese Robbing Mussolini by Renato De Maria Adagio by Stefano Sollima There s Still Tomorrow by Paola Cortellesi Last Night of Amore by Andrea Di Stefano The First Day of My Life by Paolo Genovese Thank You Guys by Riccardo Milani Io capitano by Matteo Garrone A Brighter Tomorrow by Nanni Moretti and Comandante by Edoardo De Angelis 100 Italian films to be saved editMain article 100 Italian films to be saved nbsp Everybody Go Home by Luigi Comencini 1960 The list of the 100 Italian films to be saved Italian 100 film italiani da salvare was created with the aim to report 100 films that have changed the collective memory of the country between 1942 and 1978 The project was established in 2008 by the Venice Days festival section of the 65th Venice International Film Festival in collaboration with Cinecitta Holding and with the support of the Ministry of Cultural Heritage The list was edited by Fabio Ferzetti 153 film critic of the newspaper Il Messaggero in collaboration with film director Gianni Amelio and the writers and film critics Gian Piero Brunetta Giovanni De Luna Gianluca Farinelli Giovanna Grignaffini Paolo Mereghetti Morando Morandini Domenico Starnone and Sergio Toffetti 154 155 Cinematheques editMain articles Cineteca Nazionale Cineteca Italiana and Cineteca di Bologna Cineteca Nazionale is a film archive located in Rome Founded in 1949 it includes 80 000 films on file 600 000 photographs 50 000 posters and the collection of the Italian Association for the History of Cinema Research AIRSC 156 It arose from the archival heritage of the Centro Sperimentale di Cinematografia which in 1943 had been removed by the Nazi occupiers 157 158 159 Cineteca Italiana is a private film archive located in Milan Established in 1947 and as a foundation in 1996 the Cineteca Italiana houses over 20 000 films and more than 100 000 photographs from the history of Italian and international cinema 160 Cineteca di Bologna is a film archive in Bologna It was founded in 1962 161 Museums editMain articles National Museum of Cinema and Museum of Precinema nbsp The Mole Antonelliana in Turin which houses the National Museum of Cinema The National Museum of Cinema in Turin is a motion picture museum inside the Mole Antonelliana tower It is operated by the Maria Adriana Prolo Foundation and the core of its collection is the result of the work of the historian and collector Maria Adriana Prolo It was housed in the Palazzo Chiablese In 2008 with 532 196 visitors it ranked 13th among the most visited Italian museums 162 The museum houses pre cinematographic optical devices such as magic lanterns earlier and current film technologies stage items from early Italian movies and other memorabilia Along the exhibition path of about 35 000 square feet 3 200 m2 on five levels are areas devoted to the different kinds of film crew and in the main hall fitted in the temple hall of the Mole a series of chapels representing several film genres 163 The Museum of Precinema is a museum in the Palazzo Angeli Prato della Valle Padua related to the history of precinema or precursors of film It was created in 1998 to display the Minici Zotti Collection in collaboration with the Comune of Padova The Cinema Museum of Rome is located in Cinecitta The collections consist of movie posters and playbills cine cameras projectors magic lanterns stage costumes and the patent of Filoteo Alberini s kinetograph 164 The Milan Cinema Museum managed by the Cineteca Italiana is divided into three sections the precinema animation cinema and Milan as a film set as well as multimedia and interactive stations 165 The Catania Cinema Museum exhibits documents concerning cinema its techniques and its history particularly the link between cinema and Sicily 166 The Cinema Museum of Syracuse collects more than 10 000 exhibits on display in 12 rooms 167 Italian Academy Award winners editSee also List of Italian Academy Award winners and nominees nbsp Federico Fellini won four Oscars for Best Foreign Language Film the most for any director 168 After the United States and the United Kingdom Italy has the most Academy Awards wins Italy is the most awarded country at the Academy Award for Best Foreign Language Film with 14 awards won 3 Special Awards and 31 nominations Winners with the year of the ceremony Shoeshine 1947 by Vittorio De Sica Honorary Award Bicycle Thieves 1949 by Vittorio De Sica Honorary Award The Walls of Malapaga 1950 by Rene Clement Honorary Award La Strada 1956 by Federico Fellini Nights of Cabiria 1957 by Federico Fellini 8 1963 by Federico Fellini Yesterday Today and Tomorrow 1964 by Vittorio De Sica Investigation of a Citizen Above Suspicion 1970 by Elio Petri The Garden of the Finzi Continis 1971 by Vittorio De Sica Amarcord 1973 by Federico Fellini Cinema Paradiso 1989 by Giuseppe Tornatore Mediterraneo 1992 by Gabriele Salvatores Life Is Beautiful 1998 by Roberto Benigni The Great Beauty 2013 by Paolo Sorrentino nbsp Sophia Loren and Eleonora Brown in Two Women by Vittorio De Sica 1960 In 1961 Sophia Loren won the Academy Award for Best Actress for her role in Vittorio De Sica s Two Women She was the first actress to win an Academy Award for a performance in any foreign language and the second Italian leading lady Oscar winner after Anna Magnani for The Rose Tattoo In 1998 Roberto Benigni was the first Italian actor to win the Best Actor for Life Is Beautiful Italian born filmmaker Frank Capra won three times at the Academy Award for Best Director for It Happened One Night Mr Deeds Goes to Town and You Can t Take It with You Bernardo Bertolucci won the award for The Last Emperor and also Best Adapted Screenplay for the same movie Ennio De Concini Alfredo Giannetti and Pietro Germi won the award for Best Original Screenplay for Divorce Italian Style The Academy Award for Best Film Editing was won by Gabriella Cristiani for The Last Emperor and by Pietro Scalia for JFK and Black Hawk Down nbsp Dino De Laurentiis produced more than 500 films 169 The award for Best Original Score was won by Nino Rota for The Godfather Part II Giorgio Moroder for Midnight Express Nicola Piovani for Life is Beautiful Dario Marianelli for Atonement and Ennio Morricone for The Hateful Eight Giorgio Moroder also won the award for Best Original Song for Flashdance and Top Gun The Italian winners at the Academy Award for Best Production Design are Dario Simoni for Lawrence of Arabia and Doctor Zhivago Elio Altramura and Gianni Quaranta for A Room with a View Bruno Cesari Osvaldo Desideri and Ferdinando Scarfiotti for The Last Emperor Luciana Arrighi for Howards End and Dante Ferretti and Francesca Lo Schiavo for The Aviator Sweeney Todd The Demon Barber of Fleet Street and Hugo The winners at the Academy Award for Best Cinematography are Tony Gaudio for Anthony Adverse Pasqualino De Santis for Romeo and Juliet Vittorio Storaro for Apocalypse Now Reds and The Last Emperor and Mauro Fiore for Avatar The winners at the Academy Award for Best Costume Design are Piero Gherardi for La dolce vita and 8 Vittorio Nino Novarese for Cleopatra and Cromwell Danilo Donati for The Taming of the Shrew Romeo and Juliet and Fellini s Casanova Franca Squarciapino for Cyrano de Bergerac Gabriella Pescuccifor The Age of Innocence and Milena Canonero for Barry Lyndon Chariots of Fire Marie Antoinette and The Grand Budapest Hotel Special effects artist Carlo Rambaldi won three Oscars one Special Achievement Academy Award for Best Visual Effects for King Kong 170 and two Academy Awards for Best Visual Effects for Alien 171 1979 and E T the Extra Terrestrial 172 The Academy Award for Best Makeup and Hairstyling was won by Manlio Rocchetti for Driving Miss Daisy and Alessandro Bertolazzi and Giorgio Gregorini for Suicide Squad Sophia Loren Federico Fellini Michelangelo Antonioni Dino De Laurentiis Ennio Morricone and Piero Tosi also received the Academy Honorary Award Festivals and film awards editMain pages Film festivals in Italy and Italian film awards The Association of Italian Film Festivals AFIC Italian Associazione Festival italiani di cinema is the peak body for film festivals held in Italy 173 174 Directors editMain article List of Italian film directorsActors and actresses editMain articles List of Italian actors and List of Italian actressesSee also edit nbsp Film portal nbsp Italy portal Media of Italy Cinema of the world History of cinema 100 Italian films to be saved List of actors from Italy List of actresses from Italy List of film directors from Italy List of Italian movies List of highest grossing films in ItalyNotes edit From top left to bottom right Vittorio De Sica Sophia Loren Marcello Mastroianni Pier Paolo Pasolini Roberto Rossellini Sergio Leone Nino Manfredi Luchino Visconti Alberto Sordi Toto Gina Lollobrigida Claudia Cardinale Anna Magnani Roberto Benigni Michelangelo Antonioni Giancarlo Giannini Ugo Tognazzi Bud Spencer Isabella Rossellini Federico Fellini Mario Monicelli Virna Lisi Ettore Scola Alvaro Vitali and Monica BellucciReferences edit a b Table 8 Cinema Infrastructure Capacity UNESCO Institute for Statistics Archived from the original on 5 November 2013 Retrieved 5 November 2013 Table 6 Share of Top 3 distributors Excel UNESCO Institute for Statistics Archived from the original on 24 December 2018 Retrieved 5 November 2013 a b c Tutti i numeri del cinema italiano 2018 PDF ANICA Country Profiles Europa Cinemas Archived from the original on 9 November 2013 Retrieved 9 November 2013 Bondanella Peter 2009 A History of Italian Cinema A amp C Black ISBN 9781441160690 Luzzi Joseph 30 March 2016 A Cinema of Poetry Aesthetics of the Italian Art Film JHU Press ISBN 9781421419848 a b c L œuvre cinematographique des freres Lumiere Pays Italie in French Archived from the original on 20 March 2018 Retrieved 1 January 2022 a b c Il Cinema Ritrovato Italia 1896 Grand Tour Italiano in Italian Archived from the original on 21 March 2018 Retrieved 1 January 2022 Moliterno Gino 2009 The A to Z of Italian Cinema in Italian Scarecrow Press p 243 ISBN 978 0 8108 7059 8 a b Il cinema delle avanguardie in Italian 30 September 2017 Retrieved 13 November 2022 Bruni David 2013 Roberto Rossellini Roma citta aperta in Italian Lindau ISBN 978 88 6708 221 6 a b c d e f g h i j Katz Ephraim 2001 Italy The Film Encyclopedia HarperResource pp 682 685 ISBN 978 0060742140 Silvia Bizio Claudia Laffranchi 2002 Gli italiani di Hollywood il cinema italiano agli Academy Awards in Italian Gremese Editore ISBN 978 88 8440 177 9 Chiello Alessandro 2014 C eravamo tanto amati I capolavori e i protagonisti del cinema italiano in Italian Alessandro Chiello ISBN 978 605 03 2773 1 La Biennale di Venezia The origin 7 April 2017 Retrieved 9 September 2018 a b 26 febbraio 1896 Papa Leone XIII filmato Fratelli Lumiere in Italian Retrieved 1 January 2022 31 dicembre 1847 nasce a Torino Vittorio Calcina in Italian Retrieved 2 January 2022 Cineteca pericolosa polveriera per 50 anni di cinema italiano in Italian Retrieved 13 January 2022 Fernaldo Di Giammatteo 1999 Un raggio di sole si accende lo schermo in I Cineoperatori La storia della cinematografia italiana dal 1895 al 1940 raccontata dagli autori della fotografia volume 1 PDF in Italian Archived from the original PDF on 29 September 2013 Retrieved 9 January 2022 Angelini Valerio Fiorangelo Pucci 1981 1896 1914 Materiali per una storia del cinema delle origini in Italian Studio Forma allo stato attuale delle ricerche la prima proiezione nelle Marche viene ospitata al Caffe Centrale di Ancona ottobre 1896 The present state of research the first screening will be hosted in the Marches of Ancona at the Cafe Central October 1896 ISBN unspecified a b c Storia del cinema italiano in Italian Retrieved 9 January 2022 Italo Pacchioni alle Giornate del Cinema Muto 2009 in Italian 25 September 2009 Retrieved 21 January 2016 CRITICA CINEMATOGRAFICA in Italian Retrieved 5 January 2022 Brunetta Gian Piero 2003 Guida alla storia del cinema italiano 1905 2003 in Italian Einaudi p 425 ISBN 978 8806164850 Bruscolini Elisabetta 2003 Roma nel cinema tra realta e finzione in Italian Fondazione Scuola Nazionale di Cinema p 18 ISBN 978 8831776820 Riprese degli operatori Lumiere a Torino Enciclopedia del cinema in Piemonte in Italian Retrieved 5 January 2022 Baretta Marcello 22 July 2016 High Concept Movie in Italian Media amp Books ISBN 9788889991190 Retrieved 9 January 2022 Della Torre Roberto 2014 Invito al cinema Le origini del manifesto cinematografico italiano in Italian Educatt p 78 ISBN 978 8867800605 Titanus lo scudo nobile del cinema italiano La Repubblica 16 February 2014 Retrieved 8 December 2022 La storia di Titanus Titanus in Italian Retrieved 8 December 2022 a b Cinematografia Dizionario enciclopedico italiano in Italian vol III Treccani 1970 p 226 Brunetta Gian Piero 2002 Storia del cinema mondiale in Italian Vol III Einaudi p 38 ISBN 978 88 06 14528 6 Verdone Mario 1970 Spettacolo romano in Italian Golem pp 141 147 ISBN unspecified Hall Sheldon Neale Steve 2010 Epics Spectacles and Blockbusters A Hollywood History Wayne State University Press p 31 ISBN 978 0 8143 3008 1 Fioravanti Andrea 2006 La storia senza storia Racconti del passato tra letteratura cinema e televisione in Italian Morlacchi Editore p 121 ISBN 978 88 6074 066 3 La bellezza del cinema in Italian Retrieved 9 January 2022 Brunetta Gian Piero 2002 Storia del cinema mondiale in Italian Vol III Einaudi p 51 ISBN 978 88 06 14528 6 Vv Aa 1985 I comici del muto italiano in Italian Griffithiana pp 24 25 ISBN unspecified Brunetta Gian Piero 2009 Cinema muto italiano in Italian Laterza p 46 ISBN 978 8858113837 Cinema of Italy Avant garde 1911 1919 Retrieved 12 November 2022 Heil Jerry 1986 Russian Futurism and the Cinema Majakovskij s Film Work of 1913 Russian Literature 19 2 175 191 doi 10 1016 S0304 3479 86 80003 5 What Causes German Expressionism Retrieved 12 November 2022 Il Futurismo un trionfo italiano a New York in Italian Retrieved 12 November 2022 The 20th Century art book Reprinted ed dsdLondon Phaidon Press 2001 ISBN 978 0714835426 Ricci Steve 2008 Cinema and Fascism Italian Film and Society 1922 1943 University of California Press p 4 ISBN 9780520941281 Brunetta Gian Piero 2002 Storia del cinema mondiale in Italian Vol I Einaudi p 245 ISBN 978 88 06 14528 6 Brunetta Gian Piero 2002 Storia del cinema mondiale in Italian Vol III Einaudi p 57 ISBN 978 88 06 14528 6 Brunetta Gian Piero 2009 Cinema muto italiano in Italian Laterza p 56 ISBN 978 8858113837 Foster Gwendolyn Audrey 1995 Women Film Directors An International Bio Critical Dictionary Greenwood Publishing Group pp 282 284 ISBN 978 0313289729 Callisto Cosulich Primo contatto con la realta in Eco del cinema e dello spettacolo n 77 on 31 July 1954 Brunetta Gian Piero 2009 Cinema muto italiano in Italian Laterza pp 59 60 ISBN 978 8858113837 Gori Gianfranco 1984 Alessandro Blasetti in Italian La Nuova Italia p 20 ISBN unspecified Anderson Ariston 24 July 2014 Venice David Gordon Green s Manglehorn Abel Ferrara s Pasolini in Competition Lineup The Hollywood Reporter Archived from the original on 18 February 2016 Valck Marijke de Kredell Brendan Loist Skadi 26 February 2016 Film Festivals History Theory Method Practice Routledge ISBN 9781317267218 Addio Lido Last Postcards from the Venice Film Festival Time Retrieved 9 September 2018 50 unmissable film festivals Variety 8 September 2007 Retrieved 23 June 2020 a b Cinecitta c e l accordo per espandere gli Studios italiani in Italian 30 December 2021 Retrieved 10 September 2022 Kinder Lucy 28 April 2014 Cinecitta studios Google Doodle celebrates 77th anniversary Ricci Steven 1 February 2008 Cinema and Fascism Italian Film and Society 1922 1943 University of California Press pp 68 69 ISBN 978 0 520 94128 1 Garofalo Piero 2002 Seeing Red The Soviet Influence on Italian Cinema in the Thirties In Reich Jacqueline Garofalo Piero eds Re viewing Fascism Italian Cinema 1922 1943 Bloomington Indiana University Press pp 223 249 ISBN 978 0253215185 Bondanella Peter E 2001 Italian Cinema From Neorealism to the Present Continuum p 13 ISBN 9780826412478 Bondanella Peter 1995 Italian Cinema From Neorealism to the Present The Continuum Publishing 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8831785372 Zagarrio Vito 2005 Storia del cinema italiano 1977 1985 in Italian Marsilio p 348 ISBN 978 8831785372 Italia 80 in Italian 4 October 2012 Retrieved 9 January 2022 Rooney David 7 January 2002 Local yokels deliver a boffo B O holiday gift Variety p 30 Le migliori 50 commedie italiane degli anni 80 in Italian 21 March 2021 Retrieved 25 November 2022 Vitti Antonio 2012 Introduzione Cinema italiano contemporaneo Annali d Italianistica in Italian 30 17 29 JSTOR 24017598 Retrieved 9 January 2022 D Agostini Paolo 29 January 1999 Il cinema italiano da Moretti a oggi Storia del cinema mondiale in Italian Einaudi pp 1102 1103 ISBN 978 8806145286 Pieraccioni Leonardo Treccani Encyclopedia Retrieved 21 January 2020 E Il Ciclone film record va in tv la Repubblica 23 October 1999 Retrieved 21 January 2020 Vent anni dopo Il Ciclone e un cult Pieraccioni lo celebra tra Conti e Panariello la Repubblica 3 September 2016 Retrieved 21 January 2020 Movieplayer it Pagina incassi del film in 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Cambridge University Press ISBN 0 521 57573 7 Bondanella Peter 2002 Italian Cinema From Neorealism to the Present Continuum ISBN 978 0826404268 Brunetta Gian Piero 2009 The History of Italian Cinema A Guide to Italian Film from Its Origins to the Twenty First Century Princeton University Press ISBN 978 0691119892 Celli Carlo Cottino Jones Marga 2007 A New Guide to Italian Cinema Palgrave MacMillan ISBN 978 1403975607 Celli Carlo 2013 Italian Circularity National Identity in Global Cinema How Movies Explain the World Palgrave MacMillan pp 83 98 ISBN 978 1137379023 Cherchi Usai Paolo 1997 Italy Spectacle and Melodrama Oxford University Press ISBN 978 0198742425 Clark Martin 1984 Modern Italy 1871 1982 Longman ISBN 978 0582483620 Forgacs David Lutton Sarah Nowell Smith Geoffrey 2000 Roberto Rossellini Magician of the Real London BFI ISBN 978 0851707952 Genovese Nino Gesu Sebastiano 1996 Verga e il cinema Con una sceneggiatura verghiana inedita di Cavalleria rusticana in Italian Giuseppe Maimone Editore ISBN 978 8877510792 Gesu Sebastiano Maccarrone Laura 2004 Ercole Patti Un letterato al cinema in Italian Giuseppe Maimone Editore ISBN 978 88 7751 211 6 Gesu Sebastiano 2005 L Etna nel cinema Un vulcano di celluloide in Italian Giuseppe Maimone Editore ISBN 978 8877512383 Gesu Sebastiano Russo Elena 1995 Le Madonie cinema ad alte quote in Italian Giuseppe Maimone Editore ISBN 978 8877510907 Indiana Gary 2000 Salo or The 120 Days of Sodom London BFI ISBN 978 0851708072 Kemp Philip March 2002 The Son s Room Sight amp Sound No 3 p 56 Landy Marcia 2000 Italian Film Cambridge University Press ISBN 978 0521649773 Mancini Elaine 1985 Struggles of the Italian Film Industry during Fascism 1930 1935 UMI Press ISBN 978 0835716550 Marcus Millicent 1993 Filmmaking by the Book Italian Cinema and Literary Adaptation Johns Hopkins University Press ISBN 978 0801844553 Marcus Millicent 1986 Italian Film in the Light of Neorealism Princeton University Press ISBN 978 0691102085 Nowell Smith Geoffrey 2003 Luchino Visconti British Film Institute ISBN 978 0851709611 Reich Jacqueline Garofalo Piero 2002 Re viewing Fascism Italian Cinema 1922 1943 Indiana University Press ISBN 978 0253215185 Reichardt Dagmar Bianchi Alberto 2014 Letteratura e cinema in Italian Franco Cesati Editore ISBN 978 88 7667 501 0 Rohdie Sam 2002 Fellini Lexicon London BFI ISBN 978 0851709338 Rohdie Sam 2020 Rocco and his Brothers London BFI ISBN 978 1839021947 Sitney Adams 1995 Vital Crises in Italian Cinema University of Texas Press ISBN 0 292 77688 8 Sorlin Pierre 1996 Italian National Cinema London Routledge ISBN 978 0415116978 Wood Michael May 2003 Death becomes Visconti Sight amp Sound No 5 pp 24 27 External links edit nbsp Wikimedia Commons has media related to Cinema of Italy Italica Moments of Italian Cinema Archived from the original on 13 February 2009 Italian Cinema Special May 2010 issue of Sight amp Sound magazine Archived from the original on 15 April 2010 Italian Production Agency Archived from the original on 22 August 2010 Italian Movie Database Retrieved from https en wikipedia org w index php title Cinema of Italy amp oldid 1226081057, wikipedia, wiki, book, books, library,

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