International students at the Centro Sperimentale di Cinematografia in Rome: 1935–2020: A history to be written

2021 ◽  
Vol 9 (2) ◽  
pp. 175-209 ◽  
Author(s):  
Flavia Laviosa ◽  
Alfredo Baldi ◽  
Jim Carter ◽  
Diego Bonelli
Keyword(s):  
International Students ◽  
Sound Production ◽  
Costume Design ◽  
Set Design ◽  
Italian Cinema ◽  
Comprehensive List ◽  
World Cinema ◽  
Sociopolitical Context ◽  
New Research ◽  
Collaborative Article

The Centro Sperimentale di Cinematografia (CSC), founded in Rome in 1935, has come to signify Italian cinema education in acting, directing, photography, set design, costume design, screenwriting, sound production, editing, production and film animation (since 1983). The CSC has historically admitted a significant number of international students (more than 13 per cent) in the past 85 years. This collaborative article introduces the first comprehensive list of international students in three CSC disciplines: directing, photography and set design. It begins with historical and artistic perspectives addressing the ideal of diversity, the internationalization of culture and the sociopolitical context of studying cinema in Rome. This article also includes graphs and statistics that give a clear sense of the broad geographical representation of foreigners who studied at the CSC. A comprehensive list of their names, nationalities, specializations and year of their degrees is organized in two formats: one by geography and one by chronology. The aim of this article is also to set new research goals so as to broaden our understanding of whether and how the CSC’s Italian cinematic education impacted world cinema.

scholarly journals Support Services at Spanish and U.S. Institutions: A Driver for International Student Satisfaction

2016 ◽  
Vol 6 (4) ◽  
pp. 984-998
Author(s):  
Adriana Perez- Encinas ◽  
Ravichandran Ammigan
Keyword(s):  
International Students ◽  
Student Satisfaction ◽  
Support Services ◽  
International Student ◽  
Student Support Services ◽  
Student Mobility ◽  
Research Approach ◽  
International Student Mobility ◽  
University Support ◽  
New Research

Many institutions of higher education are promoting campus internationalization as a core principle through international student mobility and, as a result, have expanded rapidly in enrollment. To effectively serve this growing population, many campuses have had to strengthen their student support services. However, while many have welldeveloped programs for students in general, not all services are designed to specifically cover the needs of international students. The purpose of this paper is to provide an overview on research conducted on the topic of international student satisfaction with university support services as a means to ensure a positive student experience. It also provides a new research approach for comparing how support services for international students are structured at Spanish and U.S. institutions.

What Does “Good Adjustment” Mean for Chinese International Students? A Qualitative Investigation

2018 ◽  
Vol 46 (8) ◽  
pp. 979-1009 ◽  
Author(s):  
Yun Lu ◽  
Harold Chui ◽  
Runsheng Zhu ◽  
Hongyang Zhao ◽  
Yangyang Zhang ◽  
...  
Keyword(s):  
International Students ◽  
Subjective Evaluation ◽  
Well Being ◽  
Cultural Adjustment ◽  
Chinese International Students ◽  
Consensual Qualitative Research ◽  
Rich Description ◽  
Sociopolitical Context ◽  
Sense Of Satisfaction ◽  
Graduate International Students

In this study, we aimed to provide a rich description of Chinese graduate international students’ ways of coping with adjustment challenges and their subjective appraisal of adjustment. Nine Chinese graduate international students (six women, three men) from different institutions and disciplines reported their perceptions of the broad sociopolitical context, cultural adjustment experiences, and subjective evaluation of adjustment. We analyzed the data using consensual qualitative research method. Findings were summarized into three domains: (a) Perceived Sociopolitical Context, (b) Cultural Adjustment Challenges, and (c) Coping and Adjustment. We found frequent long-standing challenges in social and professional domains. Furthermore, interviewees reported an ongoing evaluative process where they negotiated host culture participation expectations in the context of adjustment challenges to achieve a subjective sense of satisfaction. Our findings have implications for professionals working with Chinese international students to help them mitigate internalized oppression and develop purpose and well-being.

scholarly journals Leonora Carrington on and off Screen: Intertextual and Intermedial Connections between the Artist’s Creative Practice and the Medium of Film

Arts ◽  
2019 ◽  
Vol 8 (1) ◽  
pp. 11
Author(s):  
Lora Markova ◽  
Roger Shannon
Keyword(s):  
Gabriel Garcia Marquez ◽  
Costume Design ◽  
Carlos Fuentes ◽  
Set Design ◽  
Horror Film ◽  
Artistic Identity ◽  
Literary Works ◽  
Luis Bunuel ◽  
Creative Practice ◽  
The Mansion

This article explores the under-researched intertextual and intermedial connections between Leonora Carrington’s transdisciplinary practice and the medium of film. The analysis focuses on the artist’s cameo appearances in two 1960s Mexican productions—There Are No Thieves in This Village (Alberto Isaac 1964) and A Pure Soul (Juan Ibáñez 1965)—which mark her creative collaborations with Surrealist filmmaker Luis Buñuel and Magic Realists Gabriel García Márquez and Carlos Fuentes. Carrington’s cameo roles are analyzed within a network of intertextual translations between her visual and literary works that often mix autobiographical and fictional motifs. Moreover, it is argued that Carrington’s cinematic mediations employ the recurring Surrealist tropes of anti-Catholic and anti-bourgeois satire. The article also investigates Carrington’s creative approach towards art directing and costume design, expressed in the Surrealist horror film The Mansion of Madness (Juan López Moctezuma 1973). The analysis examines the intermedial connections between Carrington’s practice of cinematic set design and her earlier experiments with theatrical scenography. Overall, this study aims to reveal undiscovered aspects of Leonora Carrington’s artistic identity and her transdisciplinary oeuvre.

scholarly journals The Leopard DVD

2004 ◽  
Author(s):  
Jan Uhde
Keyword(s):  
Italian Cinema ◽  
World Cinema ◽  
Post War ◽  
Luchino Visconti ◽  
The Waves

In 1963, Luchino Visconti completed his Italian Risorgimento epic The Leopard (Il gattopardo, 1963) - one of the best Italian films ever made and a classic of world cinema. In it, the director conjures an era of aristocratic elegance and charm, his own world in fact, being swept away by the energetic and unscrupulous upstarts of the rising bourgeoisie - "the jackals and the sheep" - opportunistically surfing the waves of Garibaldi's popular uprising. This successful transformation into film of the spirit of Giuseppe Tomasi Di Lampedusa's outstanding novel was made possible by the participation of several exceptional artists: the scriptwriter Suso Cecchi D'Amico, without whose genius neither The Leopard nor much of the best post-war Italian cinema would exist; the cinematographer Giuseppe Rotunno; the composer Nino Rota; the costume designer Piero Tosi; the resplendent Claudia Cardinale, and, last but not least, the experienced Hollywood star Burt Lancaster whose magnificent...

The One-shot Sequence and the Rhetoric of the Gaze in Contemporary Italian Cinema and the Films of Paolo Sorrentino

Film Studies ◽  
2018 ◽  
Vol 19 (1) ◽  
pp. 76-99
Author(s):  
Vito Zagarrio
Keyword(s):  
Film History ◽  
Italian Cinema ◽  
The Gaze ◽  
Rhetorical Devices ◽  
World Cinema ◽  
Italian Film ◽  
The One

The one-shot sequence – the articulation of an entire scene through a single, unbroken long take – is one of the cinema’s most important rhetorical devices and has therefore been much used and widely theorised over the years. This article provides a brief overview of these theories and of the multiple ways in which the one-shot sequence has been used both in world cinema (in general) and Italian cinema (in particular) in order to contextualise its use by one of Italian cinema’s best-known and most significant practitioners, Paolo Sorrentino. Through close analyses of one-shot sequences in Sorrentino’s films L’uomo in più/One Man Up, Le conseguenze dell’amore/The Consequences of Love, This Is the Place and Il divo – La vita spettacoloare di Giulio Andreotti – the article argues that Sorrentino’s predilection for the device is best explained by the wide variety of functions that it serves (as a mark of directorial bravura and auteur status; as a self-reflexive device and meditation on the cinematic gaze; as a political tool; and as a means of generating emotion). While rooted in history, Sorrentino’s use of the one-shot sequence thus transcends its position within Italian film history and discourse.

Il Centro Sperimentale di Cinematografia in Rome and its students (1935–2020)

2020 ◽  
Vol 8 (3) ◽  
pp. 425-428
Author(s):  
Alfredo Baldi
Keyword(s):  
International Students ◽  
Italian Cinema ◽  
International Reputation ◽  
The World

The Centro Sperimentale di Cinematografia in Rome (Centre for Experimental Cinematography) is one of the first cinema schools in the world. Funded in 1935, it has been and continues to be an artistic hub for generations of Italian and international students from all over the world. Offering courses in directing, acting, photography, scenography, costume, sound and editing the CSC has trained professionals who have become world renowned artists, have contributed to the international reputation of Italian cinema and have influenced filmmaking in their countries of origin.

scholarly journals FILM PRODUCTION IN POLAND. STAGES: FROM AN IDEA TO THE SCREEN

2021 ◽  
Author(s):  
Małgorzata Bożek ◽  
Keyword(s):  
Production Management ◽  
Dominant Role ◽  
Costume Design ◽  
Film Production ◽  
Film System ◽  
Feature Film ◽  
World Cinema ◽  
Close Cooperation ◽  
Comprehensive Study

The Polish film system is characterized by a variety of forms. Michał Zabłocki, the author of the comprehensive study of the «Organization of the production of feature film in Poland», isolates two models of world cinema: a producer and a producer – director. The first one features the dominant role of the producer, which means the person who is responsible for the work of all the film departments – direction, cinematography, production management, scenography and costume design. The second one, the model which is still the most popular in Poland, assumes close cooperation between the producer and the director.

What is taken for granted in autism research?

2019 ◽  
Vol 42 ◽  
Author(s):  
Michele Ilana Friedner
Keyword(s):  
Research Methodologies ◽  
Communicative Practices ◽  
Autism Research ◽  
Autistic People ◽  
The Social ◽  
New Research

Abstract This commentary focuses on three points: the need to consider semiotic ideologies of both researchers and autistic people, questions of commensurability, and problems with “the social” as an analytical concept. It ends with a call for new research methodologies that are not deficit-based and that consider a broad range of linguistic and non-linguistic communicative practices.

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