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In the late 1940s and early 1950s, film critics, international festivalgoers, and other studious viewers were swept up by the tide of Italian neorealism. Meanwhile, mainstream Italian audiences were indulging in a different kind of cinema experience: the sensational, extravagant melodramas of director Raffaello Matarazzo. Though turning to neorealism for character types and settings, these ...
1 de jul. de 2019 · Passions of Italian Maestro Raffaello Matarazzo. On the Channel — Jul 1, 2019. T he late forties and early fifties produced Italian cinema’s single most important export: the neorealism of Roberto Rossellini, Vittorio De Sica, and Luchino Visconti, treasured by generations of cinephiles and filmmakers all over the world.
Consigliato da Raffaello Matarazzo. As a International Affairs Manager for Sub Saharan Africa and Americas at Eni, I leverage my PhD in European Affairs and 20 years of experience in international relations to support Eni's energy transition projects and zero carbon neutrality goal by 2050. I coordinate finance, legal, commercial and business ...
- Eni
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Raffaello Matarazzo (MA, PhD) è senior analyst dell'Eni (Government affairs department). Insegna studi strategici all'Università degli studi di Perugia e politiche comparate alla St. John's University, Campus di Roma. Ha pubblicato libri, articoli su riviste peer reviewed e paper sull'integrazione, la politica estera e di difesa europea e i rapporti transatlantici. Nel 2002 ha lavorato a ...
MATARAZZO, Raffaello. – Nacque a Roma il 17 ag. 1909, da Ciro e da Anna Bologna, in una famiglia di origine napoletana. Il M. perse presto il padre e per proseguire gli studi fino alla licenza liceale lavorò come fattorino telegrafico; quando la madre si risposò con un giornalista, trovò nel patrigno un valido aiuto per approfondire la sua ...
Matarazzo himself made the biopic Giuseppe Verdi in 1953, and all of the films in the Criterion edition exude operatic elements. No less a filmmaker than Visconti would follow suit in incorporating opera in his evolving vision of the realist film, especially in Senso (1954), which begins with a scene from Verdi’s Il Trovatore .
