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A master of modern European cinema and a key figure in the Italian neorealist movement, Roberto Rossellini had one of the longest and most varied careers of all major directors. From 'Rome Open City' and 'Paisà ' through to the 'Bergman' classics 'Stromboli 'and 'Journey to Italy' and his later work for television, Rossellini's work and ideas had a profound influence on filmmaking and criticism. This specially commissioned overview of Rossellini's works examines key issues and themes covering all phases of his career. Leading critics from across the world examine, among other issues, the Fascist context of Rossellini's early work, the view of Europe that emerges in his films, the stylistic trajectory of the work through neorealism and beyond and its influence on the French New Wave, the issues of representation that emerge in later films and his extensive work for television. The significance of Rossellini's relationships with Ingrid Bergman and Anna Magnani is discussed and the book also includes a dossier section of materials providing an overview of the most important facts and documents concerning the director.

In the final phase of his career, Italian master Roberto Rossellini embarked on a dramatic, daunting project: A series of politically minded televisions films about knowledge and history, made in an effort to teach, where the contemporary media was failing. Looking at the western world's major figures and moments, yet focusing on the small details of daily life, Rossellini was determined not to recount history but to bring it back to life, as it might have been, unadorned yet full of the drama o

Roberto Rossellini is one of the most influential filmmakers of all time. And it was with his trilogy of films made during and after World War II Rome Open City, Paisan, and Germany Year Zero that he left his first transformative mark on cinema. With their stripped-down aesthetic, largely nonprofessional casts, and unorthodox approaches to storytelling, these intensely emotional works were international sensations and came to define the neorealist movement. Shot in battle-ravaged Italy and Germa

In the late 1940s, the incandescent Hollywood star Ingrid Bergman (Casablanca) found herself so moved by the revolutionary neorealist films of Roberto Rossellini (Rome Open City) that she sent the director a letter, introducing herself and offering her talents. The resulting collaboration produced a series of films that are works of both sociopolitical concern and metaphysical melodrama, each starring Bergman as a woman experiencing physical dislocation and psychic torment in postwar Italy. It a

Self-reflection by celebrities tends to be fraught with unmentionable difficulties. Not, though, when the star in question is the ever intelligent, self-aware, articulate, and magnificent Isabella Rossellini. For years, a wall in the entrance of Rossellini's apartment has been covered in pictures taken of her by different photographers. Looking at the "Me Wall," Rossellini writes that she never really saw herself; instead she "saw the photographer's work, their ideas, and our collaboration in capturing fantasies." Looking at Me gathers together Rossellini's private collection of portraits taken of herself by some of the world's leading photographers, including Eve Arnold, Richard Avedon, Michel Comte, Patrick Demarchelier, Fabrizio Ferri, Horst P. Horst, Brigitte Lacombe, Annie Leibovitz, Peter Lindbergh, Robert Mapplethorpe, Steven Meisel, Irving Penn, Herb Ritts, Paolo Roversi, Ellen von Unwerth, and Bruce Weber, as well as filmmakers David Lynch and Wim Wenders. Rossellini invites us to join her as she looks at her favorite portraits, privileging us with her witty, humorous, and self-ironical comments. She traces her career, in photographs, from boxing reporter in Muhammad Ali's training camp to highly successful model, from actress in some of Hollywood's more controversial films to head of her own cosmetic line, Manifesto. Mixed in with these public images are pictures of Rossellini in private, with her children, her dog Macaroni, and her pig Spanky. Irresistibly charming, intelligent yet whimsical, Looking At Me proves the perfect complement to Rossellini herself.

Television has long been a symbol of social and cultural decay, yet many in postwar Europe saw it as the medium with the greatest potential to help build a new society and create a new form of audiovisual art. Utopian Television examines works of the great filmmakers Roberto Rossellini, Peter Watkins, and Jean-Luc Godard, all of whom looked to television as a promising new medium even while remaining critical of its existing practices.Utopian Television illustrates how each director imagined television’s improved or “utopian” version by drawing on elements that had come to characterize it by the early 1960s. Taking advantage of the public service model of Western European broadcasting, each used television to realize works that would never have been viable in the commercial cinema. All three directors likewise seized on television’s supposed affinity for information and its status as a “useful” medium, but attempted to join this utility with aesthetic experimentation, suggesting new ways to conceive of the relationship between aesthetics and information.As beautifully written as it is theoretically rigorous, Utopian Television turns to the writing of Fredric Jameson and Ernst Bloch in treating the three directors’ television experiments as enactments of “utopia as method.” In doing so it reveals the extent to which the medium inspired and shaped hopes not only of a better future but of better moving image art as well.

In the late 1940s, the incandescent Hollywood star Ingrid Bergman (Casablanca) found herself so moved by the revolutionary neorealist films of Roberto Rossellini (Rome Open City) that she sent the director a letter, introducing herself and offering her talents. The resulting collaboration produced a series of films that are works of both sociopolitical concern and metaphysical melodrama, each starring Bergman as a woman experiencing physical dislocation and psychic torment in postwar Italy. It a

Roberto Rossellini (1906–1977)—movie-maker, bon vivant, and passionate intellectual—was the key figure of Italian neo-realism, the godfather of the French New Wave, and a television pioneer; the maker of such classics as Open City, Paisan, Stromboli, Flowers of St. Francis, Voyage in Italy, and Louis XIV; Anna Magnani's lover; Ingrid Bergman's husband; and Isabella Rossellini's father. Continually enmeshed in controversy, perhaps no other figure in the history of world cinema has been so reviled—and so revered. Tag Gallagher's masterful biography of Rossellini, the first in any language, was fifteen years in the making. It is the result of assiduous research, lengthy interviews with almost everyone who knew him, and investigations into the making and reception of his films. The cast of characters includes Vittorio Mussolini, Il Duce's son and Rossellini's Fascist-era producer; Howard Hughes, who produced Stromboli and then, in a fit of jealousy over Ingrid Bergman, butchered its American release; and dozens of other people. Combining a portrait of a dynamic and daring man with brilliant discussions of his work, Tag Gallagher tells a story as rich and moving as Rossellini's miraculous films.

Roberto Rossellini, famous Italian film director and icon of neorealism, would have been one hundred years old on May 8, 2006. Isabella Rossellini, daughter of Ingrid Bergman and Roberto Rossellini, and herself a film star, bestselling author and celebrated photo model, has created two very special homages to her father on the centenary of his birth: a short film entitled My Dad is 100 Years Old, directed by Canadian filmmaker Guy Maddin as director—and this many-voiced, richly illustrated book of remembrance. In the Name of the Father, the Daughter and the Holy Spirits, Remembering Roberto Rossellini, features texts and illustrations by Isabella Rossellini; entries by Ingrid Bergman, Roberto Rossellini, François Truffaut, Eric Rohmer and Guy Maddin; and numerous film stills and photographs by Herbert List, Clifford Coffin, Gordon Parks, David Seymour, and many others. Texts by Isabella Rossellini, Ingrid Bergman, Federico Fellini and many others Roberto Rossellini, (May 8, 1906 – June 3, 1977) is considered one of the most innovative and influential of post-war film directors. Among his most significant films are: Rome, Open City (1945, with Anna Magnani), Stromboli (1950, with Ingrid Bergman) and Germany, Year Zero which he filmed in 1948, working with amateur actors in a bombed-out Berlin. He was married to Ingrid Bergman from 1950–1957 and had three children with her, one of whom is Isabella. Isabella Rossellini was born in 1952 and grew up in Rome and Paris. At the age of nineteen she moved to New York where she began her career as a film actress, under the direction of David Lynch in particular, and achieved international fame as the exclusive model for Lancôme.

Brand: Bulgari Model: : Isabella Rossellini Color: Pink Material: Leather Dimensions: Serial number: AX-F11-34004Inclusions: Shoulder strap Country of origin: Italy Condition: AB - very good condition TBC reference (Sku): 1719605823273101 Condition: Good, but used. A good but used item will have been worn and potentially washed but will be in good condition and well taken care of. The item will have visible wear and tear but the defects will be minor. These have to be mentioned and visible in photos.

Elevate your style with this pre-owned Bvlgari Vintage Isabella Rossellini leather shoulder bag in a stunning blue hue. Crafted with a top handle, shoulder strap, and turn lock closure, this bag is both practical and chic. Despite minor wear and tear, this bag is in good condition and perfect for carrying your essentials.

- General information -Brand : Bvlgari Item name : Bvlgari Isabella Rossellini Leather Shoulder Bag Model number : - Design -Type : Shoulder Bag Material : Leather Color : Beige Gender : Female- Size -Size : Shoulder strap : 115Depth : 9Height : 17Length : 26Item Material : Leather Item Color : Ivory×Black- Inventory -Serial Number : null SKU : 120210000410805A0025442893- Included Items -Accessories : null*Before purchasing, please refer to the images of the accessories included with the item.- Condition -Condition : Good Condition Rank : Used A Used condition with obviously scratches and stains. Condition Notice : Before purchasing, please refer to the images for the exact condition of the item. Condition: Worn with love. An item that has been worn with love will have been worn frequently and will therefore have larger and more visible defects such as stains. These must be mentioned and visible in photos.

This Isabella Rossellini tote comes from the House of Bvlgari. It is crafted from multicolored leather on the exterior. It features two handles, gold toned hardware, and a leather lined interior. It comes with an adjustable 45 cm shoulder strap. Spacious, functional, and fashionable, this stunning creation is ideal for everyday use. - Fair - Exterior: Visible discoloration on bottom/creases/color marks/scuffing on corners. Handle(S): Visible creases/darkening/scuffing. Lining: Visible darkening/stains/color marks. Hardware: Visible tarnish/scratches/discoloration. Strap: Visible discoloration/scuffs/darkening. Condition: Worn with love. An item that has been worn with love will have been worn frequently and will therefore have larger and more visible defects such as stains. These must be mentioned and visible in photos.

This Rossellini tote from Bvlgari is crafted from black leather and has a well structured design. The bag comes with protective metal feet and a top handle along with a shoulder strap. The turn lock closure opens to a fabric lined interior capacious enough to carry your essentials. - Good - Good condition with minor scuffs/darkening/creases/discoloration/crack in some areas, peeling on exterior, splitting on handle(s), stains on lining, wear on metal. Condition: Good, but used. A good but used item will have been worn and potentially washed but will be in good condition and well taken care of. The item will have visible wear and tear but the defects will be minor. These have to be mentioned and visible in photos.

Bvlgari Isabella Rossellini Shoulder Bag Made in Italy Black canvas material Spacious interior with shoulder drop of 55-58cm Includes dust bag Surface has lost shape and has slight stains Metal fittings have slight scratches Interior and pockets have rubbing Corners have rubbing Storage smell Dimensions: W34 x H21 x D17 (Approx.) / Shoulder Drop 55-58 (Approx.) Style: Shoulder Bag Color: Black Material: Canvas Accessory: Dust Bag Product No.: - Serial No.: Ax-N10-33243 Condition: C Sku: bs 7634 Condition: Worn with love. An item that has been worn with love will have been worn frequently and will therefore have larger and more visible defects such as stains. These must be mentioned and visible in photos.

Viva l'Italia is a documentary made after the event, trying to figure out what happened. I tried to place myself in front of the events of a century ago, the way a documentarist would have done who had the good fortune to follow Garibaldi's campaign with his camera. Roberto Rossellini To celebrate the centenary of Italy, the Italian government commissioned Rossellini to make a biopic of Giuseppe Garibaldi, one that would follow his exploits with 'the Thousand' and their role in the country's u

A former model, Ellen Von Unwerth has since become one of the foremost fashion photographers, shooting the Guess jeans campaign for years. This volume reproduces her gritty fashion, portraiture, and nudes with photos of Claudia Schiffer, Naomi Campbell, Isabella Rossellini, and Madonna, among many others. Photographs by Ellen Von Unwerth; text by Ingrid Sischy; designed by Sam Shahid. 144 pages; 100 sheet-fed gravure plates; 10 x 14 inches.

While visiting Rome, world-renowned photographer Gregory Crewdson was invited to tour the legendary film studio Cinecittà, where directors such as Federico Fellini and Roberto Rossellini shot their iconic works. He found the elaborate film sets fallen into ruin and, captivated by their beauty, chose them as the subject of his next body of work. Although his earlier series were characterized by large production crews, custom-built soundstages, and hired actors, Crewdson returned to Rome with only a small team to create the haunting black-and-white portraits of deteriorating buildings and deserted streets that are flawlessly reproduced in this book. Admirers of Crewdson’s work will find these new photographs are a bold departure, which yet convey the dramatic subtext and charged emotions that characterize his earlier works.

Filmmaking legend Roberto Rossellini brings his passion for realism and unerring eye for the everyday to this portrait of the early years of the reign of France's "Sun King," and in the process reinvents the costume drama. The death of chief minister Cardinal Mazarin, the construction of the palace at Versailles, the extravagant meals of the royal court: all are recounted with the same meticulous quotidian detail that Rossellini brought to his contemporary portraits of postwar Italy. The Taking

Two narcissistic arch rivals (Streep and Hawn) discover the ultimate accessory - a potion that will keep them forever young - when they meet a mysterious enchantress (Isabella Rossellini, Blue Velvet) with deep ties to the Hollywood elite. But they get more than they bargained for when their newfound beauty only intensifies their vanity - and rivalry - in this fast-paced and very funny dark comedy that the Chicago Tribune calls "diabolically inventive."