Voce per voce i fatti, i personaggi, le curiosità e gli avvenimenti che hanno caratterizzato la storia passata e attuale dell'Ufologia siciliana. Un libro che mancava negli scaffali della letteratura ufologica, un valido supporto per i ricercatori e i semplici appassionati di questa intrigante e misteriosa tematica.
Una poetica che nasce da un lungo viaggio nei luoghi dell'anima, nei paradisi e nelle distese infernali che un opprimente quotidiano ci costringe ad affrontare. Nessuno tocchi Caino è un grido di dolore, avvolto da uno spesso manto di solitudine, che riesce comunque ad aprirsi alla speranza; una poesia semplice e d'effetto, la cronaca puntuale di tutti quei pensieri che affollano la nostra mente, a volte inconfessabili, spesso abilmente celati dall'estremo bisogno di dover indossare necessariamente una maschera per sopravvivere.
Elio Petri (1929-1982) was one of the most commercially successful and critically revered Italian directors ever. A cultured intellectual and a politically committed filmmaker, Petri made award-winning movies that touched controversial social, religious, and political themes, such as the Mafia in We Still Kill the Old Way (1967), police brutality in Investigation of a Citizen Above Suspicion (1970), and workers' struggles in Lulu the Tool (1971). His work also explored genre in a thought-provoking and refreshing manner with a taste for irony and the grotesque: among his best works are the science fiction satire The 10th Victim (1965), the ghost story A Quiet Place in the Country (1968), and the grotesque giallo Todo modo (1976). This book examines Elio Petri's life and career, and places his work within the social and political context of postwar Italian culture, politics, and cinema. It includes a detailed production history and critical analysis of each of his films, plenty of never-before-seen bits of information recovered from the Italian ministerial archives, and an in-depth discussion of the director's unfilmed projects.
How the perception of shadows, studied by vision scientists and visual artists, reveals the inner workings of the visual system. In The Visual World of Shadows, Roberto Casati and Patrick Cavanagh examine how the perception of shadows, as studied by vision scientists and visual artists, reveals the inner workings of the visual system. Shadows are at once a massive problem for vision—which must distinguish them from objects or material features of objects—and a resource, signaling the presence, location, shape, and size of objects. Casati and Cavanagh draw up an inventory of information retrievable from shadows, showing their amazing variety. They present an overview of the visual system, distinguishing between measurement and inference. They discuss the shadow mission, the work done by the visual brain to parse, and perhaps discard, the information from shadows; shadow ownership, the association of a shadow with the object that casts it; shadow labeling, the visual system's ability to tell shadows from nonshadows; and the shadow concept, our knowledge about shadows as a category. Casati and Cavanagh then apply the theoretical apparatus they have developed for shadows to other phenomena: illumination, reflection, and transparency. Finally, they examine the art of the shadow, paying tribute to artists' exploration of shadow, analyzing a series of artworks (reproduced in color) from a rich and fascinating art historical corpus.
In 1970s Italy, after the decline of the Spaghetti Western, crime films became the most popular, profitable and controversial genre. In a country plagued with violence, political tensions and armed struggle, these films managed to capture the anxiety and anger of the times in their tales of tough cops, ruthless criminals and urban paranoia. Recent years have seen renewed critical interest in the genre, thanks in part to such illustrious fans as Quentin Tarantino. This book examines all of the 220+ crime films produced in Italy between 1968 and 1980, the period when the genre first appeared and grew to its peak. Entries include a complete cast and crew list, home video releases, a plot summary and the author's own analysis. Excerpts from a variety of sources are included: academic texts, contemporary reviews, and interviews with filmmakers, scriptwriters and actors. There are many onset stills and film posters.
The Story of Attila in Prose is the first critical edition and translation of the thirteenth century Franco-Italian prose text the Estoire d’Atile en prose. Preserved in two anonymous and untitled manuscripts composed between the last quarter of the thirteenth century and the beginning of the fourteenth century, the story recounts the fictional founding of Venice after the invasion of Aquileia by Attila the Hun. The manuscripts, located in Zagreb and Venice, detail Attila’s pagan mother, her union with a dog, and his feral birth, as well as his unusual death during a chess match and the origins of the Holy Grail. This edition and translation are based on the Zagreb manuscript, which was only recently discovered. The book includes a full critical apparatus containing rejected readings and variants from the Venetian manuscript, and a thorough introduction that discusses the literary value of the text, its possible sources, and its influence on later literature. It is important reading for both historians of medieval Europe and literary critics.
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