Bernardo Bertolucci

Films use architecture as visual shorthand to show viewers
what they need to know about characters in a short amount of
time. Using a phenomenological approach to look at a diverse
range of international, historical and contemporary films,
this book describes how we as viewers can read architecture
and design on the big screen to see a number of underlying
messages. Architecture’s representational capacity contributes
to the plausibility or realities that are possible in film. The book
provides an ontological understanding that clarifies and
stabilises the reciprocity between our actual and filmic worlds
of illusion and human imagination, thereby shedding light on
both cinema and architecture.

«The sulphurous actress», «L’enfant perdue du cinéma», «The woman of Last tango»: this is how media have defined Maria Schneider, the french actress who gained international renown for her performance in Last tango in Paris, at the age of 19. The role written by Bertolucci undoubtedly marked Schneider’s image and turned this fresh girl-woman into the rebel icon of free love (Cari genitori) and the symbol of female emancipation (Io sono mia). During her meteoric passage through European stardom, Schneider scandalized also italian conservative society. My paper focuses not only on the actress’s persona, but also on the reception of Schneider’s sexual life in the Italian press, which compared the actress to Juliette Lorsange, the nymphomaniac De Sade’s character.

Why Bernardo Bertolucci, when adapting as a film Alberto Moravia’s novel Il conformista, introduced into its homonymous The Conformist the Platonic image of the cave? The article is to give an answer to this question by analysing Moravia’s work in search of “cave images”, which would justify Bertolucci’s decision.

Brown University Comparative Literature Honors Thesis analyzing and comparing the Jorge Luis Borges story, "The Theme of the Traitor and the Hero", and the Bernardo Bertolucci film based on it, "The Spider's Stratagem", dealing with the politics of spectacle and the spectacle of politics.

"Numero 20 di “Fata Morgana” (di fatto ventunesimo fascicolo, essendoci stato un numero 0), numero speciale, numero su
"Cinema", a cui partecipano anche molti cineasti.  Questi ultimi hanno scelto, o disegnato, l’immagine di un film rappresentativo della loro idea di cinema, associandola ad un breve testo, talvolta poche parole. Numero a cui partecipano studiosi di prestigio, alcuni dei quali accompagnano la rivista fin dalla sua nascita."

This study will seek to determine the extent to which Louis Garrel’s leading roles are unified, not only through their personification in Louis Garrel but also through a number of central, common themes. It will be seen that the psychoanalytic notion of desire juxtaposed with those of filiation and heredity are central to the body of work in which Louis Garrel has so far performed. Particular emphasis will be laid on the manner in which the notion of ‘family’ is consequently rendered central to the development of these features from both a thematic and technical point of view. With regards to the latter aspect, the study will also seek to determine the manner in which Louis Garrel’s oeuvre is still deeply indebted, whether directly or indirectly, to the symbolic fathers of the French Nouvelle Vague.

The main reason behind the spread of fake news is because of many fake and hyperpartisan sites present on the Internet. These fake sites try to manipulate the truth which creates misunderstanding in society. Therefore, it is important to detect fake news and try to make people aware of the truth. This paper gives an insight into how to detect fake news using Machine Learning and Deep Learning Techniques. On observing our data, we have categorized our data into five attributes namely Title, Text, Subject, Date, and Labels. In order to develop an efficient fake news detection system, the feature along with its degree of impact on the system must be taken into consideration. This paper attempts at providing a detailed analysis of detecting fake news using various models such as LSTM, ANN, Naïve Bayes, SVM, Logistic Regression, XGBoost, and Bert.

Why Bernardo Bertolucci, when adapting as a film Alberto Moravia’s novel Il conformista, introduced into its homonymous The Conformist the Platonic image of the cave? The article is to give an answer to this question by analysing Moravia’s work in search of “cave images”, which would justify Bertolucci’s decision.

Respuesta a un profano en psicoanálisis sobre el concepto del Otro con mayúscula y el complejo de castración, ese Otro como parte del mundo externo, que nos trasmite el uso del lenguaje, que en un inicio es un amparador, que puede alienarnos en una fantasía de fusión, si no apare el Otro como padre separador. Como ese Otro es tan importante en la fase del espejo, para la constitución del yo (moi), en ese otro virtual, que es un semejante. Lo que ilustro con el caso Juanito y el de los protagonistas de la película de Bernardo Bertolucci, "La luna". Se habla del Otro tachado en el final de análisis, donde ha caído ese Otro que es el Sujeto del Supuesto Saber. Y hablo del Otro en la psicosis de Schreber.

Рад има за циљ да истражи пренос постмодернистичке идеје историографске  метафикције  кроз  различите уметничке  форме текста. Анализом текста Борхесове фантастичне приче, и Бертолучијевог филма, рад настоји указати на ауторске постмодернистичке  тежње  раскривања  великог  наратива  историје.  Модусима
специфичним  за  сваку  од  уметности,  аутори  ће  деконструисати историју као симулакрум, фикционализацијом исте, започињући реконструкцију потиснутих историјских истина. Крај коме ће одвести оба текста – књижевни и филмски – отвориће пут ка плуралности,  на  коме  се  велики  наративи  не  потврђују  едипалном идентификацијом, одбацујући сервиране и идеолошки контаминиране истине историје. Стога ћемо видети на који начин Борхес и Бертолучи својим метафикцијама о стварању историје постају и издајници и јунаци на различитим странама огледала колективног памћења и идентитета једне културолошке заједнице.

Il cinema – insieme alla fotografia probabilmente – è l’arte del Novecento, quella che lo racconta meglio, e c’è infatti una documentazione sterminata. Ma quale è stata la funzione del cinema? è stata una funzione di conoscenza, soprattutto per gli analfabeti. Charlie Chaplin è il più grande di tutti per un motivo molto semplice. Charlot faceva ridere e piangere gli africani, i giapponesi, gli svedesi, i ricchi, i poveri, gli analfabeti e gli intellettuali, i maschi, le femmine, i bambini, i vecchi, i neri, i bianchi, i rossi... Perché? Grazie al mezzo meccanico (pensa alle osservazioni di Walter Benjamin)...

A visit to ruins often raised and still raises the emotion of silence and, therefore, the idea that ancient spaces implicate the possibility of reflection and abstraction from the noise of reality and contemporaneity. The present contribution specifically focuses on the silent descriptions of ancient ruins and the related emotions which travellers experience, pointing to the difference of descriptions of ancient places and cities – before they became ruins – made by the people living therein. Travellers experience the same places from a different perspective adding feelings and emotions that not always – one could even argue never – correspond to the experience and emotions of past people living those same places that surely were not silent, at least not always and at any time, and with such a romantic and meditative atmosphere

Versione italiana del testo della conferenza in inglese di Enrico Bernard "Benigni between cinema and theatre" con le foto inedite del "Cioni Mario di Gaspare fu Giulia" di Giuseppe Bertolucci interpretato da Benigni  nella prima metà degli anni '70 all'Alberichino un teatrino off off  delle cosiddette "cantine romane".

Starting in the early 1950s, E.N.I. (the
Italian National Hydrocarbons Authority) hired several
emerging filmmakers to produce hundreds of high-quality
movies documenting the process of oil extraction in Italy and
abroad. Intended as both celebratory and educational films,
the ENI documentaries aimed to promote oil as the source of
energy that could finally modernize Italy. Guaraldo argues
that today these films can be essential for understanding the
“ideology of petroleum” in its making, and for opening a
discussion on the troubled relationships between the
environment, colonialism and resource extraction in Italy.

Crónica de un encuentro con Ricardo Aronovich en Trouville-sur-Mer. Emigrado a Francia en los 60, el gran director de fotografía encarnó importantes hitos del cine argentino y europeo. Trabajó junto a Raúl Ruiz, Louis Malle, Ettore Scola, Costa-Gavras, Hugo Santiago, René Mugica, Ruy Guerra y Alan Resnais entre otros. La extensa entrevista que resulta de este encuentro filmado, permite rastrear los inicios de una pasión por el cine, y la influencia de los maestros Simón Feldman y Pablo Tabernero.

An attempt to phrase and tackle the question on just how justified a viewer is when reading into a film, for example philosophically. As primary examples I use and tie together themes from Bernardo Bertolucci's 2003 film The Dreamers and Jean-Paul Sartre's existentialist magnum opus Being and Nothingness.

Bertolucci e la sua Bassa, i suoi paesani, il suo Po e i suoi filari di pioppi. La Bassa e la Storia, il socialismo agrario, l'avvento del fascismo, la grande guerra, la Resistenza e la Liberazione. In un valzer tra rievocazione storica e mitologie, il regista tesse la grande tela agreste che racconta del segreto della nostra condizione umana e delle nostre vicissitudini, ancora oggi. La materia viva di quel mondo diventa allora exemplum di vita e di impegno sociale, monito al di là delle ideologie, che ricordi al pubblico della necessità di emanciparsi dai soprusi, da ogni sopruso. E in tutto questo poesia, messe in scena da epica, continui richiami a colori e motivi che hanno visto in quegli stessi paesaggi la loro scenografia naturale. La tensione tra realismo e idealizzazione diventa un continuo richiamo a forme e icone di grande impatto emotivo, e le memorie personali non possono che fungere da traino di quelle culturali. È un cinema che ritorna alla sua forma primitiva e forse più autentica, che fa sognare di mondi lontani, ma che scuote con estrema brutalità riportando alla ragione del presente la trama dei fatti, sempre attuali e di grande valore civile.

May 1968 meant for youth a turn in their ways of representing and acting. Likewise, it meant the complex transformation of cultural, political and economic discourses of which the representation of the divinity was not an exception. This article describes how Bernardo Bertolucci and Pier Paolo Pasolini represented the divine figure in the context of the Italian 68. As a song by Francesco Guccini states, God is dead but the desire for his resurrection still exists. The analysis focuses on two short films from the collective film Amore e rabbia (1969): Agonia by Bertolucci and La sequenza del fiore di carta by Pasolini. The analysis shows that far from wishing and declaring divinity's their death, both authors call into question the divine existence and its relevance in a world characterized by suffering and injustice as well as by solidarity and love. It is in the contradictory interstice between love and rage that the relationship of these directors with the divinity happens.

Mayo de 1968 significó para la juventud un giro en sus modos de representarse y actuar. Asimismo, significó la compleja transformación de discursos culturales, politicos y económicos de la que la representación de la divinidad no fue una excepción. El presente artículo describe cómo Bernardo Bertolucci y Pier Paolo Pasolini representaron la figura divina en el contexto del 68 italiano. Como afirma una canción de Francesco Guccini, dios está muerto pero el deseo de su resurrección existe. El análisis se enfoca en dos cortometrajes del film colectivo Amore e rabbia (1969): Agonia de Bertolucci y La sequenza del fiore di carta de Pasolini. El análisis muestra que lejos de desear y declarar su muerte, ambos autores se cuestionan (cuestionándola) la existencia divina y su pertinencia en un mundo caracterizado tanto por el sufrimiento y la injustica como por la solidaridad y el amor. Es en el intersticio contradictorio entre el amor y la rabia que la relación de estos directores con la divinidad acaece.

The aim of this article is to prove the real possibility of travelling intellectually to the Platonic image of the cave from different films. In this sense, one can speak of explicit references as in The Conformist by B. Bertolucci or in Shadowlands by R. Attenborough -if one bears in mind the Chronicles of Narnia by  C. S. Lewis- or The Picture of Dorian Gray –if one bears in mind the well-known O. Wilde’s novel-, but, on other occasions, although the Platonic influence cannot be proved, for instance in The Truman Show, A Room with a View or Brideshead Revisited, one can perfectly think of these films in order to guide the contemporary audiences to that Platonic image, since Plato himself affirms that it deals with an image which can be easily applied and, in first place, to his idealistic philosophy.

Η παρούσα ανακοίνωση παρουσίαστηκε στο 4ο Διεθνές Συνέδριο "Δημιουργική Γραφή", το οποίο διοργανώθηκε από το Πανεπιστήμιο Δυτικής Μακεδονίας και πραγματοποιήθηκε στη Φλώρινα,  Σεπτεμβρίου 2019.

Σημειώνεται ότι η ανακοίνωση, οπως όλες οι ανακοινώσεις που περιέχονται στα Πρακτικά του Συνεδρίου, υποβλήθηκε ανώνυμα και κρίθηκε από δύο τουλάχιστον κριτές, μέλη της επιστημονικής
επιτροπής του συνεδρίου, και ειδικούς επιστήμονες εκτός της επιστημονικής επιτροπής.

1-30 Περιεχόμενα | Ταυτότητα Συνεδρίου: Επιστημονική Επιτροπή, Οργανωτική Επιτροπή |  Θεματικοί άξονες – περιοχές ενδιαφέροντος | Αντί εισαγωγικών [(σελ. 1-30)]
31-49 Ανακοινωση [(σελ. 922-940)]

El autor se propone construir la especificidad de la crítica de cine y sus orígenes históricos en la República Dominicana partiendo del señalamiento de Émile Benveniste que coloca en el dominio de la semiótica a las prácticas sociales que no utilizan el lenguaje, contrariamente a la literatura. La práctica teórica está respaldada por el análisis de varias obras cinematográficas consideradas como obras maestras y otras no tanto.

https://escholarship.org/uc/item/2w40187f) . This article generalizes the notion of offscreen space in cinema to the sculpture of Michelangelo, the photography of Luigi Ghirri, the cinema of Antonioni, and the writings of Leopardi, Manzoni, Celati, Tabucchi, Ortese and Montale.