#Giovanni Fusco

[jgthirlwell]

playlist 05.30.24

Shellac To All Trains (Touch and Go) Kernis Symphony On Waves (Argo) Elysian Fields What The Thunder Said (Ojet) Giovanni Fusco La Guerre Est Finie OST (Bell) Georg Friedrich Haas In Vain (Kairos) Sebastian Tropic OST (Ed Banger) Vocoder V.O.C.O.D.E.R (Dur et Doux) Caleb Landry Jones Hey Gary, Hey Dawn (Sacred Bones) Joseph Franklin A Thousand Tiny Mutinies (Nice Music Label) Herdis Stensdottir Knock At The Cabin OST (Back Lot Music) Lu$tSickPuppy Carousel From Hell (Bandcamp) Big | Brave A Chaos of Flowers (Thrill Jockey) BBBBBBB singles and EPs (Bandcamp) Trent Reznor & Atticus Ross The Killer OST (The Null Corp) Chico Magnetic Band (Lizard / Disques Vogue)

[chamud1964]

Titoli 1

[imgianluca]

la mia cassa, a volume bassissimo

[rockhyrax]

Spectacle Radio ep.117 :: 06.06.24 :: ****A Bloody Moon in the Great English Outdoors

This time with guests Anne Sofie Nørskov and Sam Bornstein talking about the soundtrack to their new film Erase the Record and sharing some of their favorites in the mix with the usual chaos of the Spectacle slate.

Goma & Little Temple - Notti’s Dream #1 (Funky Forest) Killer’s Moon Sam Bornstein - Breakdown (Erase the Record) Alan Birkenshaw & Jane Lester - My Dream (Killer’s Moon) Funky Forest Theme Nill & O Adotado - Shirley Chisholm (Raw Session) American Hunter Josy Nowack - Break You Down (The Future Is Woman) Takashi Inagaki - Wall Anhell69 Brenda Hutchinson, Clive Smith, & Slava Tsukerman - Liquid Sky 14 The Uncle Henny Penny Show (The Adventure of Faustus Bidgood) Giovanni Fusco - L’Avventura Theme … Sam Bornstein - Erase the Record Theme Magnet - Lullaby (The Wicker Man) Eduard Artemyev - Solaris XI Warm Blood The Way It Is - In a Strange Place Yo La Tengo - Sea Urchins (The Sound of Science) Matt Farley - My Goldfish Dead (Local Legends) Burst City The Circle Jerks - Coup d’Etat (Repo Man) Bully Boys Band - Putney Swope Window to Paris Brenda Hutchinson, Clive Smith, & Slava Tsukerman - Liquid Sky 18 Zbigniew Preisner - Dekalog IV Part 2 Sam Bornstein - Letter to Zoey (Erase the Record) Eduard Artemyev - Solaris VI … Anne Linnet - Time Out (Time Out) Goma & Little Temple - Notti’s Dream #2 (Funky Forest) Robert Joy - End Titles from Faustus Bidgood Mark Reeder (B-Movie: Lust and Sound in West Berlin) The Plastics - Copy (Downtown 81) Raymond Scott - Portofino (The Century of the Self) Gottfried Hüngsberg - World on a Wire Edgar Froese - Snake Bath (Kamikaze ’89) Saeko Suzuki - Life King (No Life King) Los Van Van - Tokyo Decadence Grey Gerstin - Demo 5_2-_24 The Grid (The Adventure of Faustus Bidgood) Isao Tomita - Arabesque (Jack Horkheimer / Star Hustler) Joanna Bruzdowicz - Theme from Vagabond Jacques Dutronc - Et Moi, Et Moi, Et Moi (City of Ghosts) Yo La Tengo - Sea Urchins (The Sound of Science) The Red Krayola - In My Baby’s Ruth (Raw Session)

[theretirementhome]

Giovanni Fusco - Sul sud express, pt.2

[byneddiedingo]

Alain Delon and Monica Vitti in L'Eclisse (Michelangelo Antonioni, 1962)

Cast: Alain Delon, Monica Vitti, Francisco Rabal, Lilla Brignone, Rossana Rory, Mirella Ricciardi, Louis Seignier. Screenplay: MIchelangelo Antonioni, Tonino Guerra, Elio Bartolini, Ottiero Ottieri. Cinematography: Gianni Di Venanzo. Production design: Piero Poletto. Film editing: Eraldo Da Roma. Music: Giovanni Fusco. 

"Some like it cold. Michelangelo Antonioni on alienation, this time with Alain Delon and, of course, Monica Vitti. Even she looks as if she has given up in this one."  -- Pauline Kael, 5001 Nights at the Movies

I'm still an admirer of Pauline Kael's film criticism, but it has dated. She did a great service in her heyday, the 1970s, by cutting through the thickets of snobbery to advance the careers of American filmmakers like Robert Altman and Sam Peckinpah. But that often meant attacking "art house" filmmakers like Antonioni and Alain Resnais, poking at their supposed intellectual pretensions. Although I was never a "Paulette," I think I qualified at least as a Kaelite: one who took her point of view as definitive. For a long time, I scoffed at films by Antonioni, Resnais, and others like Ingmar Bergman who got glowing notices from the high-toned critics but zingers from Kael. The bad thing is that I missed, or misinterpreted, a lot of great movies. And L'Eclisse is a great movie, one that, to be sure, Kael could dismiss as "cold" and mock for its director's use of Monica Vitti as a vehicle for his views on "alienation." I will grant that Vitti's limited expressive range can be something of a hindrance to full appreciation of the film. But it would have been a very different movie if a more vivid actress like Jeanne Moreau or Anna Karina had played the role of Vittoria. Vitti's marmoreal beauty is very much the point of the film: She is irresistibly attractive and at the same time frozen. Alain Delon's lively Piero begins to become blocked and awkward in his attempts to rouse her passion. In the opening scene, in which Vittoria tells Riccardo (Francisco Rabal) that she's leaving him, the two behave in an almost robotic, mechanical way, unable to release anything that feels like a natural human emotion at the event. We see later that Vittoria is able to let herself go, but only when sex is not in the offing and when she is playing someone other than herself: i.e., when she blacks up and pretends to be an African dancer. But Marta (Mirella Ricciardi) puts a stop to this by saying "That's enough. Let's stop playing Negroes." Marta, a colonial racist who calls Black people "monkeys," evokes the repressive side of European civilization, but L'Eclisse transcends any pat statements about "alienation" through its director's artistry, through the way in which Antonioni plays on contrasts throughout. We move from the slow, paralyzed male-female relationships to the frenzy of the stock exchange scenes, from Vittoria's rejection of Piero's advances to scenes in which they are being silly and having fun. Nothing is stable in the film, no emotion or relationship is permanent. And the concluding montage of life going on around the construction site where Vittoria and Piero have seemingly failed to make their appointment is one of the most eloquent wordless sequences imaginable.

[agendaculturaldelima]

#ProyeccionDeVida

📽Cine Club AF. Cine y Memoria, presenta:

🎬 “HIROSHIMA MI AMOR” [Hiroshima mon amour]

🔎 Género: Drama / Romance / Holocausto Nuclear / Nouvelle vague

⌛️ Duración: 88 minutos

✍️ Guión: Marguerite Duras

🎵Música: Georges Delerue y Giovanni Fusco

📷 Fotografía: Sacha Vierny y Takahashi Michio (B&W)

🗯 Argumento: Una actriz francesa rueda una película pacifista en Japón; tiene un breve romance con un arquitecto japonés, hablan en una habitación de hotel, en un bar, por la noche. Habla de sí misma, una joven de Nevers que amó a un soldado alemán en la Francia ocupada… Habla de sí misma, dolorida, radiante, aterrorizada, apaciguada.

👥 Reparto: Emmanuelle Riva (Elle), Eiji Okada (Lui), Stella Dassas (Mother), Sacha Vierny, Pierre Barbaud (Padre), Bernard Fresson (Amante Germán) y Moira Lister.

📢 Dirección: Alain Resnais

🌏 Países: Francia- Japón

📅 Año: 1959

📌 Proyección:

📆 Viernes 28 de Junio

🕖 5:00pm.

🎦 Sala Lumiere de la Alianza Francesa (av. Arequipa 4595 - Miraflores)

🎫 Entrada: S/.5

🖱 Reservas: https://www.joinnus.com/organizer/cinealianzafrancesa

👀 A tener en cuenta: Película recomendada para mayores de catorce años (14+)

[lamilanomagazine]

Napoli: scambio elettorale politico mafioso, arrestate dai Carabinieri 7 persone

Napoli: scambio elettorale politico mafioso, arrestate dai Carabinieri 7 persone Per delega del Procuratore Distrettuale di Napoli, si comunica che i Carabinieri della Compagnia di Torre del Greco hanno eseguito una ordinanza di custodia cautelare emessa dal GIP del Tribunale di Napoli, su richiesta della Direzione Distrettuale Antimafia, nei confronti di 7 persone (di cui 6 sottoposte alla misura in carcere, una agli arresti domiciliari) gravemente indiziate, a vario titolo, dei reati di scambio elettorale politico-mafioso nonché di associazione per delinquere finalizzata alla corruzione elettorale e di detenzione e porto in luogo pubblico di armi, delitti aggravati dal metodo mafioso e dalla finalità di agevolare le associazioni di tipo camorristico denominate clan Fusco-Ponticelli e De Micco-De Martino, operanti sul territorio di Cercola e nell'area orientale di Napoli compresa tra i territori di Ponticelli, Barra e S. Giovanni a Teduccio. In particolare, all'esito delle indagini svolte dai Carabinieri della Compagnia di Torre del Greco e della Tenenza di Cercola, emergeva che gli indagati, in occasione della tornata elettorale per le elezioni amministrative del comune di Cercola, fissata nelle date del 14 e del 15 maggio dell'anno 2023 e del successivo ballottaggio del 25 e 26 maggio, avrebbero creato, con una perfetta organizzazione e suddivisione di compiti e ruoli, un meccanismo volto ad inquinare l'esito delle suddette consultazioni elettorali. Il provvedimento eseguito è una misura cautelare disposta in sede di indagini preliminari, avverso cui sono ammessi mezzi di impugnazione e i destinatari della stessa sono persone sottoposte alle indagini e, quindi, presunte innocenti fino a sentenza definitiva.... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

[redesertcinema]

THE SOUND OF LONELINESS

Red Desert (Il Deserto Rosso, 1964.) marks a pivotal moment in the career of director Michelangelo Antonioni. It represents his first foray into color filmmaking, a transition that not only showcased his technical ability but also deepened the thematic complexity of his narratives.

The film follows the character Giuliana, played by Monica Vitti, as she navigates a desolate industrial landscape. Antonioni employs color not merely as a visual embellishment but as a tool to convey emotion and psychological states. The industrial backdrop, painted in hues of red, grey, and brown, serves as a stark contrast to Giuliana's inner turmoil and longing for connection.

The soundscape of the film, meticulously crafted by Antonioni and composer Giovanni Fusco, further immerses the audience in Giuliana's world. The industrial noises and haunting melodies mirror her sense of alienation and disorientation, adding another layer of depth to the viewing experience.

Through Giuliana's journey, Antonioni explores themes of isolation, existential angst, and the disintegration of traditional values in the modern world. Her struggles resonate with audiences, touching on universal feelings of longing and disconnection.

Red Desert not only exemplifies Antonioni's artistic vision but also serves as a commentary on the human condition. Its enduring relevance lies in its ability to provoke introspection and discussion about the complexities of contemporary life.

I decide to dedicate this blog to exploring Antonioni's original body of work, as well as everything that continues his refined artistic approach with relevant human themes.

[reginadeinisseni]

"Il Deserto Rosso", Michelangelo Antonioni (1964) - Atmosfera

TONINO GUERRA TONINO CERVI MONICA VITTI MICHELANGELO ANTONIONI

Monica Vitti: Giuliana Richard Harris: Corrado Zeller Carlo Chionetti: Ugo Xenia Valderi: Linda Rita Renoir: Emilia detta Milly Aldo Grotti: Max Lili Rheims: moglie di Mario Valerio Bartoleschi: Valerio Emanuela Pala Carboni: la nuotatrice della favola Bruno Borghi: Giuseppe Conti: Giulio Cotignoli: Giovanni Lolli: Hiram Mino Madonia: Giuliano Missirini: Mario Arturo Parmiani: Carla Ravasi: Jole Ivo Scherpiani: Bruno Scipioni

Deserto rosso[N 1] è un film del 1964 diretto da Michelangelo Antonioni.

Si tratta del nono lungometraggio di Antonioni, il primo a colori. Inizialmente doveva intitolarsi Celeste e verde.[6]

È la prima collaborazione con Carlo Di Palma come direttore della fotografia e l'ottava ed ultima con Giovanni Fusco come autore della colonna sonora.

[postersdecinema]

Escândalo de Amor

I, 1950

Michelangelo Antonioni

7/10

Castelos no Ar

Esta Cronaca di um amore, que em português se chamou Escândalo de amor, sem que nenhum escândalo exista no filme, salvo talvez no moralismo do censor, é a primeira longa metragem assinada por Michelangelo Antonioni, datada de 1950. Antes dela só tinha realizado curtas metragens.

Conta com a atriz fetiche dos seus primeiros filmes, Lucia Bosè, sempre bela, magnífica, no esplendor dos seus dezanove anos, carismática, e um argumento que vai buscar inspiração ao film noir americano, seguindo a moda da época.

Mas nas mãos de Antonioni o film noir transforma-se num drama psicológico. Os personagens são visceralmente capazes de tudo, mas têm remorsos, e a conclusão inevitável do filme é a de que é impossível construir o que quer que seja, em cima do remorso, mesmo quando a culpa não exista, ou decorra de mera omissão.

Uma referência ainda à magnífica banda sonora de Giovanni Fusco, interpretada ao piano por Armando Renzi e ao saxofone por Marcel Mule. Misteriosa, tensa, minimal, contribui enormemente para a densidade dramática do filme.

Uma estreia auspiciosa de um dos realizadores mais importantes da sua geração.

Castles in the Air

This Cronaca di um amore, which in Portuguese was called Escândalo de amor, without any scandal in the film, is the first feature film signed by Michelangelo Antonioni, dating from 1950. Before it, he had only made short films.

It features the fetish actress from his first films, Lucia Bosé, always beautiful, magnificent, in the splendor of her nineteen years, charismatic, and a script that draws inspiration from American film noir, following the fashion of the time.

But in Antonioni's hands, film noir becomes a psychological drama. The characters are viscerally capable of anything, but they have remorse, and the inevitable conclusion of the film is that it is impossible to build anything on top of remorse, even when guilt does not exist, or arises from mere omission.

A reference also to the magnificent soundtrack by Giovanni Fusco, played on the piano by Armando Renzi and on the saxophone by Marcel Mule. Mysterious, tense, minimal, it contributes enormously to the dramatic density of the film.

An auspicious debut from one of the most important directors of his generation.

[loveantoniolove-blog]

➡️🌷🙏Venerdì 24 Febbraio 2023

S. Modesto; B. Tommaso M. Fusco; B. Costanzo Servoli

Venerdì dopo le Ceneri

Is 58,1-9a; Sal 50; Mt 9,14-15

Tu non disprezzi, o Dio, un cuore contrito e affranto

👉🕍📖❤️VANGELO

Quando lo sposo sarà loro tolto, allora digiuneranno.

+ Dal Vangelo secondo Matteo 9,14-15

In quel tempo, si avvicinarono a Gesù i discepoli di Giovanni e gli dissero: «Perché noi e i farisei digiuniamo molte volte, mentre i tuoi discepoli non digiunano?». E Gesù disse loro: «Possono forse gli invitati a nozze essere in lutto finché lo sposo è con loro? Ma verranno giorni quando lo sposo sarà loro tolto, e allora digiuneranno».

Parola del Signore.❤️🙏

[fiftyftafro]

If I’m gonna be losing my mind, it should be in a Tudor-style home, wearing a chicly tattered Dior Slip+Robe while Giovanni Fusco’s L’Eclisse 5 echoes in the hollows of my cage of a domicile as The Fog encroaches this prison fashioned as a mansion to finally come and embrace me.

[anantradingpvtltd]

Price: [price_with_discount] (as of [price_update_date] - Details) [ad_1] Music, Authorship, Narration, and Art Cinema in Europe: 1940s to 1980s investigates the function of music in European cinema after the Second World War up to the fall of the Berlin wall, a period when composers and directors embraced experimentation. Through analyses of music and sound in a wide range of iconic films from across Europe, the essays in this book provide a nuanced reconsideration of three core themes: auteur theory, art house film, and national cinema. Chapters written by an international array of contributors focus on case studies of music in the cinema of Carlos Saura, Jean-Pierre Melville, the Polish School, and Romanian directors, as well as collaborations between directors and composers, including Michelangelo Antonioni and Giovanni Fusco, Federico Fellini and Nino Rota, Leo Arnshtam and Dmitry Shostakovich, and Peter Greenaway and Michael Nyman. The contributors shift the emphasis from a director-centered view to the working relationship between director and composer, and from the visual component to the sonic aspects of these films, without ignoring the close correlation between soundtrack and visual elements. Enriching our understanding of the complex, intertwined nature of authorship in film, the role of film music, and sound, nation-state and art cinema, and European cinematic history, this volume offers a valuable addition to research across music and film studies. Publisher ‏ : ‎ Routledge; 1st edition (30 December 2022) Language ‏ : ‎ English Hardcover ‏ : ‎ 238 pages ISBN-10 ‏ : ‎ 1138238031 ISBN-13 ‏ : ‎ 978-1138238039 Item Weight ‏ : ‎ 620 g Dimensions ‏ : ‎ 15.24 x 1.93 x 22.86 cm [ad_2]

[byneddiedingo]

Gabriele Ferzetti and Monica Vitti in L'Avventura (Michelangelo Antonioni, 1960)

Cast: Monica Vitti, Gabriele Ferzetti, Lea Massari, Dominique Blachar, Renzo Ricci, James Addams, Dorothy De Poliolo, Lelio Lutazzi, Giovanni Petrucci, Esmeralda Ruspoli. Screenplay: Michelangelo Antonioni, Elio Bartolini, Tonino Guerra. Cinematography: Aldo Scavarda. Production design: Piero Poletto. Film editing: Eraldo Da Roma. Music: Giovanni Fusco. 

The ironic title -- an "adventure" in which nothing adventurous occurs -- is enough to establish L'Avventura as one of the most subversive films ever made. It subverts narrative by never resolving its initial mystery, the disappearance of Anna (Lea Massari). And as a film about sex, it is notably anti-erotic. Antonioni's (and his cinematographer Aldo Scavarda's) camera is in love with Monica Vitti's Claudia, exploring her unconventional beauty in extended closeups. It is the "male gaze" -- the objectifying, depersonalizing view of women -- at its utmost. But then Antonioni subverts the male gaze by two scenes in which it is exposed in full and repellent play: The first is when the would-be celebrity Gloria Perkins (Dorothy De Poliolo) causes a near-riot in the streets of Messina. The second, more bitter scene comes when Claudia, having left Sandro (Gabriele Ferzetti) to fetch Anna from the hotel in Noto where she thinks she may be staying, begins to be surrounded by more and more men, like a pack of feral dogs, casting eager, exploring stares at her. The sex in L'Avventura is troubled, like that between Anna and Sandro that earlier had left Claudia standing alone and idle in another street. Or the relationship of Claudia and Sandro that develops after Anna's disappearance, leaving neither of them particularly eager to find her. In the end, Sandro proves incapable of remaining faithful to Claudia: He's all too ready to ease his boredom with, of all people, Gloria Perkins, who returns to prowl the hotel in Taormina in search of paying customers. Before their liaison, Sandro is eyed by a woman who stands in front of a painting of Roman Charity, in which a woman breastfeeds an elderly man, a scene that blurs the distinction between charity and lust. After Claudia discovers Sandro and Gloria in flagrante, she flees the hotel in tears, followed by Sandro, and the film concludes with a scene in which her gestures, stroking his hair as he weeps, demonstrate her own form of charity -- or is it lust? L'Avventura presents us with a world in which the conventional and expected word and action never take place. It was fashionable at the time the film was released to say that it was a depiction of alienation and ennui. But films about alienation and ennui invariably wind up alienating and boring, as many of the subsequent films made under its influence (including some of Antonioni's own) tediously demonstrated. L'Avventura didn't point out a viable direction for other movies, but it remains, like many great films, sui generis.