#ferraiolo

[carriola2]

Cata de Vinos Italianos. Giulio Straccali Chianti DOCG 2021. 13 % Vol. Variedades Sangiovese, Canaiolo, Treviano y Malvasía. Giulio Straccali. Castellana. Toscana. DOGC Chianti. Minini Chianti DOCG 2018. 13% Vol. Variedades Sangiovese y Canaiolo. Minini Casa Vinícola. Toscana. DOCG Chianti. Il Poggione Brunello di Montalcino DOCG 2017. 14,5 % Vol. 100% Sangiovese. Il Poggione, S. Angelo un Colle, Montalcino. DOCG Brunello di Montalcino. Ferraiolo Tuscan IGT 2011. 13,75 % Vol. Variedades 70% Sangiovese 30% Cabernet Sauvignon. Crianza 24 meses en barrica. Unión de Viticultores de Chianti Geográfico. Chianti.

[popolodipekino]

ferraiolo

come adunando le anime sgomente sotto il ferraiuolo del voler di Dio

ferraiolo, ferraiuolo: ampio mantello a ruota con bavero e senza maniche, un tempo usato per difendersi dal freddo, oggi portato da cardinali e prelati, con colore corrispondente alla dignità. [Arabo feryul, dal lat. palliolum, dim. di pallium "pallio"]

[disneytva]

In this song parody of “Life is Sweeter” from “Descendants: The Rise of Red,” Disney Channel’s most attention-seeking stars gather to sing about how it’s their time to shine!

Sing along with Helen from Kiff, LaCienega from The Proud Family, Bucky from Zombies, and Dewey from DuckTales.

[lesserknownhusbands]

[whileiamdying]

MANOEL DE OLIVEIRA: A CAREER by Richard Peña

Chances are that within a few years Portuguese director Manoel de Oliveira will be the first filmmaker in history to celebrate his own centenary with the release of a brand-new film. Having just turned 96 (at the time of this writing), and showing no signs of slowing down, the remarkably vigorous Oliveira, who could easily pass for a man 20 years younger, is brimming with plans and ideas for the future. Yet Oliveira's longevity is really just a footnote on what already is one of the extraordinary bodies of work in film history.

Born in 1908 in Oporto, the son of a successful and innovative industrialist, Oliveira developed a passion for cinema early, influenced at first especially by the work of Griffith, Stroheim and the French avant-garde. He recalls the tremendous impact Dreyer's JEANNE D'ARC had on him, as well as the first Soviet montage films screened in Portugal. Joining in with a group of like-minded enthusiasts, Oliveira attempted to make a film about Portugal's involvement in World War One-the first of many projects throughout his career that he would be forced to abandon. After gaining some practical experience working with Italian director Rino Lupo on a film about the Virgin of Fatima, Oliveira in 1931-at the age of 23-completed his first film, the half-hour HARD LABOR ON THE RIVER DOURO. A portrait of a river that geographically defines Oporto, as well as of the workers who make their livings along its bank, the film demonstrates Oliveira's familiarity with the "city symphony" genre that by then was a staple of avant-garde work. Here as in so much of his later work Oliveira's approach to editing is essentially musical, more focused on creating rhythms and movements than establishing temporal or spatial relationships.

Throughout the 1930's, Oliveira mainly worked in the family's business, helping supervise his father's factories when he wasn't driving race cars (another early passion) or, occasionally, making short films on subjects ranging from baroque sculpture to the Portuguese automotive industry. In 1941, he began work on what would become his first feature, ANIKI-BOBO. A quietly powerful look at children's games, and their relationship to adult behavior, ANIKI-BOBO was shot almost entirely in real locations using natural light sources. Two professional actors headed the cast, but the rest of his players were kids recruited off the streets. Widely criticized when released-the Salazar dictatorship was in full swing-the film was also a failure at the box office, but today is commonly cited as a kind of precursor to the neo-realist style that would sweep across Italy and then the rest of Europe in just a few years.

Discouraged, and by then a husband and father, Oliveira again devoted himself primarily to his family business endeavors, partially satisfying his artistic urges by working on scripts that he would only share with a small circle of friends. In the mid-1950's, intrigued by the possibilities of color, he embarked on his next film, THE PAINTER AND THE CITY, a stunning visual essay on his friend, the Oporto painter Antonio Cruz. The film was well received and was even shown in o number of international film festivals. A commission from the government enabled him to make

BREAD (1959), a brilliantly edited, Vertov-like study of the Portuguese baking industry.

THE PASSION OF CHRIST (1963) brought Oliveira to the small town of Curalha, in the remote Tras-os-Montes region of northeast Portugal. Each year, its inhabitants re-enact the passion and death of Christ—a common enough spectacle throughout Europe, yet here Oliveira masterfully shows how the experience of putting on and then performing the actual play affects its players throughout the rest of the year. In a decade known for various experiments in mixing documentary with fic-tion, Oliveira's THE PASSION OF CHRIST is surely one of the most remarkable, patiently revealing the complex interpersonal relationships and tensions that lay just below the surface of the spectacle.

In 1971, Oliveira turned 63, and he finally released his second feature, THE PAST AND THE PRESENT. All of Oliveira's work up to this point had had its basis in the documentary, in the encounter or confrontation of the camera with the physical world; beginning with this film, his work would shift 180 degrees and focus almost obsessively on notions of theatricality, on artifice and convention. Based on Vicente Sanchez's play, THE PAST AND THE PRESENT is a deceptively light (but actually quite brutal) dissection of upper-class morality; it was followed relatively quickly (for Oliveira) with his third feature, and one of his best, BENILDE OR THE VIRGIN MOTHER (1973). Adapted from a play by his friend Jose Regio, BENILDE deals with a case of "hysterical pregnancy" that increasingly takes on religious overtones; Oliveira refuses to "open up" the play, as is so often done in screen adaptations of theatrical works, but rather uses his camera to explore the limits of the theatrical.

If Oliveira had stopped filming after ANIKI-BOBO, he most probably would have deserved a generous footnote in film history; if he had stopped after BENILDE, that note might have been expanded to a paragraph or two, lamenting the director's great but unfulfilled potential. With his next film, however, Oliveira leapt into the first ranks of contemporary directors. Commissioned by Portuguese television, and originally broadcast in six episodes, DOOMED LOVE (1978) tells the story of two young lovers, Teresa and Simao, whose families oppose their union. Here, Oliveira perfects the style he had been developing since returning to fiction: shots are very long and generally static; his actors, facing frontally, deliver their lines often with a minimum of inflection; the sets make little or no attempt at verisimilitude. And yet, by emphasizing the artifice, by highlighting conventions of speech and movement, Oliveira manages to create a purer expression of the red-hot emotions that lay at the heart of Castelo Branco's classic novel.

This strange artifact from what had been an almost unknown only just thrown off the shackles of dictatorship a few years before landed like a UFO on the international festival circuit in the late 1970's, and after producing equal amounts of bafflement and amazement, became one of the most talked about films of the time. DOOMED LOVE would have been a tough act for anyone to follow, but Oliveira came through with the film that for many critics remains his masterpiece. FRANCISCA (1981) is based on a novel by Agustina Bessa Luis, another of Oliveira's favorites, that deals with an incident in the life of Castelo Branco, the author of DOOMED LOVE. In love with Fanny, a young English girl, he is despondent when she chooses his friend Jose Augusto instead. Yet after marriage, Jose Augusto refuses to have anything to do with her, and she dies a virgin. Critics had already written about Oliveira's "trilogy of frustrated loves," noting the thematic similarities between THE PAST AND THE PRESENT, BENILDE and DOOMED LOVE; with FRANCISCA one could now speak of a "tetralogy," as the film deepened Oliveira's treatment of that theme as well as moved even further into his "theatricalized" cinematic style.

With the relative box office success and critical acclaim of DOOMED LOVE and FRANCISCA, Oliveira could finally look forward to a "normal" career as a director-only of course he was now in his mid-70s. Happily, his age proved no limitation on his output, and over the next two decades he would direct sixteen additional features, a number of shorts, and a masterful seven-hour screen adaptation of Claudel's THE SATIN SLIPPER (1985). He would also begin work on a feature for which he is shooting several minutes a year that will be released only after his death.

Oliveira's filmmaking style has continued to evolve; the rigidly formal theatricality of his 70's and early 80's features has given way to more conventional styles of staging action. He has also had the chance to work with some of cinema's finest actors-Marcello Mastroianni, Catherine Deneuve, Irene Papas, Michel Piccoli, John Malkovich, etc.—so his work with actors has become more naturalistic. Yet there is rarely any mistaking a film by Manoel de Oliveira for one by anyone else. There has continued to be in his work a fascination with the process of A Talking Picture (2003) adaptation: what happens to a text, something Oliveira regards as inherently unstable, when it is "fixed" on the screen? There is an extraordinary economy of gesture in his work, as he seems almost painfully aware how each cut, camera movement or framing will affect the text. Another recurring feature of Oliveira's work is his sense of narrative rhythm; as noted earlier, his approach to montage has much less to do with the demands of storytelling then they do with his attention to rhythm, tone and movement. Shots and even sequences are often repeated, held what might seem to be too long or glimpsed only briefly.

A TALKING PICTURE (2003) exemplifies much of what is best and most distinctive in Oliveira's work. The film examines the interaction of history and myth, and the interaction of both with the monuments, buildings and places in the world around us. A kind of guided tour of the Mediterranean basin given by a history professor to her young daughter, their journey becomes a kind of modern odyssey, reversed in direction and now an attempt to re-join the husband instead of the wife. On their journey, they are joined by three famous actresses-Catherine Deneuve, Irene Papas, Stefania Sandrelli — each in their way linked to the sites of civilization visited along the way. As each is also depicted as a kind of legend in her own right, the actresses take on a kind of mythic quality, the contemporary version of goddesses or muses or some other supernatural deities. Their halting dialog, caused at least partially by their often being asked to speak languages with which they don't feel entirely comfortable, makes them seem as if at times they're actually quoting, another aspect of their otherworldliness.

Oliveira weaves a dense, provocative allegory here, with the education of the child seen as a complex mix of both the world and the ideas that have shaped it over time. Yet, lurking in the background is humanity's capacity for negation, for a violence and destructiveness that all the works of civilization visited on the journey here have tried to tame or at least control. The final image of the film, in a sense, says it all: Malkovich's, and our, confrontation with the darkest corner of the human psyche.

It's a stunning and harrowing moment, and one that only Oliveira could have pulled off.

— Richard Peña, Program Director, Film Society of Lincoln Center Associate Professor, Film Studies, Columbia University

A Talking Picture (2003) Kino Video 333 West 39th Street NY, NY 10018 www.kino.com

[adreamoverlife]

@icockeatpanda prevs tags sorry but i'm using this to infodump on designs I havent even finalized lmao

but yes! You're entirely correct on the religious vibes, two of the designs are based on different christian (primarily catholic) priest outfits. The first one is styled after a chasuble (mass outfit) that hes put a torn ferraiolo (formal but outside of mass, long cape) over (itll look more accurate once I spend more than 10 minutes drawing it lol)

while the other one is a cassock (casual priest outfit) with a stole tied around the waist (also another part of mass attire, typically worn around the shoulders but antoines a freak) and a mozzetta (casual outside mass, short cape) on top

designed more of Him. and tomorrow? Perhaps hundreds.

[adriantheanimator09]

Here are some Tim Burton Batman posters recreated with a Wordgirl twist!

For those who don’t know, the names at the top are the voice actors for the Wordgirl characters (Dannah Phirman - Wordgirl/Becky Botsford, Tom Kenny - Dr. Two Brains, Jack D. Ferraiolo - The Butcher, Fred Stoller - Chuck The Evil Sandwich Making Guy) also,

HANDSOME PANTHER MENTION!

[kari-a-la-tari]

Good mornin Wordgirl natio-

🌟GUESS WHAT ANOTHER WORDGIRL INTERVIEW 💫

YEAAH THAT'S RIGHT and this time it's with Jack Ferraiolo, who's the WordGirl co-creator + a writer, and voiced the Butcher!!

I'm just happy that I was finally able to finish the WordGirl interviews, so I hope y'all enjoy!!

And a SUPER HUGE THANKS to everyone that submitted a question for these interviews! It truly made them 100000x more special 💞

[theythatsayohmystars]

WAIT WAIT WAIT. SO you’re telling me, that JACK D. FERRAIOLO, THE VOICE ACTOR OF THE BUTCHER, was one of THE MAIN WRITERS, and he wrote MY FAVORITE EPISODE, “have snob, will travel”??! THE FANCY HAM EPISODE?!!!

honestly guys this is the closest thing i’ve found to my favorite ship being canon and words can’t even describe what i’m feeling

[legionario-de-europa]

Entry of French troops in Naples, February 22, 1495, from the Figurative Chronicle of the Fifteenth Century by Melchiorre Ferraiolo

[dorothydalmati1]

Obscure Animation Subject #162: Zombies: The Re-Animated Series

Says it all doesn’t, wow Disney is obsessed with this one. Thing is, not a lot actually know about it. Well, Aliki Theofilopoulos and Amphibia writer Jack Ferraiolo developed this thing and I COULDN’T CARE LESS! Sorry if I sound disinterested but thing is, I’ve never been into Zombies in general. If you like that franchise good for you but I honestly couldn’t stand it. Plus, it’s animated by Atomic Cartoons, remember those guys? They brought us 101 Dalmatian Street and now they collaborated with Disney Television Animation to do this. How wonderful!

[carriola2]

Ferraiolo 2011. Variedades Sangiovese y Cabernet Sauvignon. 13 % Vol. Agicoltori del Geografico Gaiole in Chianti. Toscana IGT.

[disneytva]

Helen gathers her fellow witches, Luz from “The Owl House” and Dae from “Zombies: The Re-Animated Series,” for an “enchanted” evening on the town.

[entity9silvergen]

The book Sidekicks by Jack D. Ferraiolo talks about this.

It’s a novel about a Roblin-like sidekick named Bright Boy who started his superhero as a six year old and is now a teenager. He wears very bright tights and ends up on the news when he gets a boner while saving a woman. Bright Boy tries to get a new, more age-appropriate costume but his superhero partner/mentor says no and tells him he just needs to control himself better, argument with some emphasis on remembering the kid he once was vs the public getting to watch Bright Boy grow up.

It’s a great superhero coming of age with romance, villainy, betrayal, and superpower world building that just happens to kickoff with a superhero getting a boner in costume. Great read if anyone gets the chance!

Texts From Superheroes

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[palepinkferriswheel]

not all heroes wear capes, but here's why most of them do

 From the earliest days of human history, clothing has been seen as an extension of our personality. It can often serve as a reflection of our personalities and styles, or our desires to portray a certain image. This idea applies to not just regular clothing but also the iconic capes worn by superheroes. When evil strikes, the superheroes are first ones to leap to the rescue with their vibrant costumes and billowing capes. Can you imagine Superhero flying across the Metropolis without his classic red cape or Batman racing around Gotham city without his signature black cape? The cape is as necessary to the superhero costume as a sword is to a knight. The origin of capes goes back to the nineteenth century. From a functional piece of medieval attire to the defining emblem of superheroes and vampires, the cape's rise from utilitarian necessity to symbol of heroism represents the human pursuit of adventure, glamour, and the fantastical. Here’s a brief history on capes and their evolution. 

Interestingly, the Latin term for cape, "cappa," serves as the origin for the term "escape," derived from "ex cappa." According to Walter William Skeat, to escape means to ex-cape oneself, indicating the act of slipping out of one's cape to get away.

In the days of old, the humble cape was regarded as not only a functional garment, but a symbol of status and authority. When paired with hoods in the chaperon style, it conveyed a sense of power and grandeur. The clergy wore their own version, the ferraiolo, during formal occasions, while the cope was used as a liturgical vestment in Catholic ceremonies. Capes had a significant place in medieval society, representing both protection from the elements and a sense of importance.

The cape has evolved into a versatile garment that combines protection from the elements with a dash of elegance. In the nineteenth century, capes became fashion statements through intricate embroidery. Military units and police forces adopted them as rainwear, granting them protection from the elements and a regal presence. Superhero movies and comics have embraced capes as essential symbols of heroism and adventure. From Superman's majestic red cape representing hope and the Batman's brooding black cloak signifying stealth and mystery, capes reflect the duality of the superhero's identity.

Capes offer literature a touch of mystery and panache. Whether they're adorning dashing heroes or ominous villains, capes add a dash of style and flair to a character's appearance. From Dracula's sinister aura to Superman's soaring power, capes provide literary works with an element of intrigue. In literature, characters like Zorro and The Scarlet Pimpernel donned capes as they set out on daring adventures. One of the most enduring literary figures associated with capes is Bram Stoker's Dracula. Though not depicted with the iconic high-collared cape of later adaptations, the Count's cape symbolized the macabre and supernatural elements that defined the character.

From the runway to the red carpet, capes have been reimagined for modern fashion. Shorter, more streamlined versions provide an element of elegance and sophistication to any outfit, while full-length, dramatic cloaks add a dramatic flair. Capes have become a staple in contemporary fashion, possessing both versatility and the ability to add a touch of drama to any ensemble.

Whether on the cover of a comic book, the back of a coat, or at the end of a superhero's outfit, capes have played an iconic role in our culture. The cape is an enigma of fashion and fashion is an enigma of its own. Remember, with a great cape comes great power, and with great power comes great responsibility.  Always use your powers for good and never for evil.

[diggingforitalianroots]

Welcome!

Recently, the wonderful (and dedicated) Becks Kobel from Washington State, a death positive genealogist (and historian), asked Italian genealogists to name their surnames, noting that she was working "on an Italian line." Many people, whether family historians like Chris Russo, Josh, Wendy L. Callahan, Renee Pizzo, Ina Neugebauer, Zoe Krainik, Ashley Senske, and Chris Ferraiolo, professional genealogists like Derk Doran Wood, and other individuals (Olivia Meikile, "Ms Redacted," and Florian Straub) shared their surnames. But, for me, the idea to create this blog was born, along with the sharing of various resources on immigration in the 20th century (see here, here, and here), writing that "I've been thinking abt a new genealogy blog that focuses on my dad's side of the family, including one on my Italian ancestors." This is that blog! I've already briefly mentioned this before on Twitter, noting how "my great-grandfather worked on the S.S. Grand View Point Hotel (otherwise known as the Ship Hotel) with an Emilio Rosso," adding that "it's so important there us [sic] even a Wikipedia page on it (which I made extensive edits too, of course)." I've also tweeted a photograph of my ancestor, Annetta Rose "Nita" (or "Anita") Baccarini, who was born December 20, 1909 in Kiskiminetas Township, Armstrong County, Pennsylvania, and went to college. However, her life was short-lived as she died on August 31, 1932 in Avonmore, Westmoreland County, Pennsylvania, of pneumonia, after she had graduated, at the age of 22! Here's the photograph:

Originally posted on Jun. 16, 2019 on the WordPress version of this blog.

I then shared a photo of my grandmother, Lena Adelaide (Franci) Hermann (1922-2005), who was 100% Italian, considered "second-generation" (I'll talk about that in a later post) and sent the following photo to my grandfather when he was building bridges in the Republic of Korea (ROK) in 1946-7:

And with that, the blog is off!

-Burkely

© 2019-2023 Burkely Hermann. All rights reserved.