{"id":51360,"date":"2017-05-11T15:15:09","date_gmt":"2017-05-11T13:15:09","guid":{"rendered":"https:\/\/www.esteri.it\/sala_stampa\/archivionotizie\/comunicati\/2017\/05\/promozione-integrata-della-cultura-2\/"},"modified":"2017-05-11T15:15:09","modified_gmt":"2017-05-11T13:15:09","slug":"promozione-integrata-della-cultura-2","status":"publish","type":"post","link":"https:\/\/www.esteri.it\/en\/sala_stampa\/archivionotizie\/approfondimenti\/2017\/05\/promozione-integrata-della-cultura-2\/","title":{"rendered":"Integrated promotion of Italian culture, diplomacy and cinema: presentation of the docufilm \u201cAcqua e zucchero \u2013 Carlo di Palma, i colori della vita\u201d"},"content":{"rendered":"<p>\u201c<i>Acqua e zucchero \u2013 Carlo Di Palma, i colori della vita<\/i>\u201d (&#8220;Water and Sugar: Carlo Di Palma, the Colours of Life&#8221;), a docufilm by Fariborz Kamkari realised in partnership with the\u00a0<i>Ministry of Foreign Affairs and International Cooperation,\u00a0<\/i>the\u00a0Regional Authority of Lazio, the Istituto Luce Cinecitt\u00e0, and the Centro Sperimentale di Cinematografia, was presented at the Bari International Film Festival and in\u00a0Rome.\u00a0Produced by Adriana Chiesa, through a co-production with ACEK s.r.l. Faram, e.MAGINE, Cinefinance Italia, Rai Cinema and MIBACT, the documentary is dedicated to Carlo Di Palma, one of the major directors of photography in Italy and in the world. The film explores dozens of the masterpieces of Italian cinematography linked through the fine eye of Carlo Di Palma. He started to work when he was very young on the set of the first neorealist film,<i>\u00a0Obsession<\/i>\u00a0by Visconti, and then went on to work on the set of\u00a0<i>Roma citt\u00e0 aperta<\/i>\u00a0(\u201cRome, Open City\u201d), the film-manifesto of the movement, and then again with Rossellini in\u00a0<i>Pais\u00e0<\/i>, and with De Sica in\u00a0<i>Sciusci\u00e0<\/i>\u00a0and\u00a0<i>Ladri di biciclette<\/i>\u00a0(\u201c<i>Bicycle Thieves\u201d)<\/i>.\u00a0\u00a0Put in a nutshell: the fundamental sets of the time. Di Palma then moved on to the set of what the great film critic No\u00ebl Burch defined as the first modern film: Antonioni\u2019s\u00a0<i>Cronaca di un amore<\/i>\u00a0(\u201cStory of a Love Affair\u201d). In partnership with the Ferrara-born film director, Di Palma would paint with colour and images the first post-modern masterpieces:\u00a0<i>Deserto rosso<\/i>\u00a0(\u201cRed Desert\u201d) and\u00a0<i>Blow up<\/i>. He directed the photography of unforgettable films by Germi (<i>Divorce Italian Style<\/i>), Monicelli (<i>L\u2019armata Brancaleone<\/i>,\u00a0<i>The Girl with the Pistol<\/i>), Petri (<i>The\u00a0assassin<\/i>), and Bernardo Bertolucci (<i>Tragedy of a Ridiculous Man<\/i>). In the \u201980s he brought the best of European film-making to the USA in the work of a contemporary genius like Woody Allen, with another series of heart-touching films: starting with\u00a0<i>Hannah and Her Sisters<\/i>, to\u00a0<i>Radio Days<\/i>,\u00a0<i>September<\/i>,<i><\/i><i>Manhattan<\/i>\u00a0<i>Murder Mystery,<\/i>\u00a0<i>Alice<\/i>\u2026<\/p>\n<p>Within the renewed integrated promotion action of the Foreign Ministry, the documentary \u2013 after the world previews in Venice and Toronto, followed by the screening in Berlin, Tel Aviv, Madrid and Sofia, and after winning the\u00a0<i>Nastro d\u2019Argento for Best Documentary on Cinema and Entertainment<\/i>\u00a0and being\u00a0\u00a0nominated for the Best Documentary for the David di Donatello Awards \u2013 will again become the focus of attention of international audiences through its circulation by the network of Italian Embassies and Italian Cultural Institutes abroad.<\/p>\n","protected":false},"excerpt":{"rendered":"\u201cAcqua e zucchero \u2013 Carlo Di Palma, i colori della vita\u201d (&#8220;Water and Sugar: Carlo Di Palma, the Colours of Life&#8221;), a docufilm by Fariborz Kamkari realised in partnership with the\u00a0Ministry of Foreign Affairs and International Cooperation,\u00a0the\u00a0Regional Authority of Lazio, the Istituto Luce Cinecitt\u00e0, and the Centro Sperimentale di Cinematografia, was presented at the Bari [&hellip;]","protected":false},"author":1,"featured_media":0,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[32],"class_list":["post-51360","post","type-post","status-publish","format-standard","hentry","category-approfondimenti","tag-diplomazia-culturale"],"_links":{"self":[{"href":"https:\/\/www.esteri.it\/en\/wp-json\/wp\/v2\/posts\/51360","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.esteri.it\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.esteri.it\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.esteri.it\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.esteri.it\/en\/wp-json\/wp\/v2\/comments?post=51360"}],"version-history":[{"count":0,"href":"https:\/\/www.esteri.it\/en\/wp-json\/wp\/v2\/posts\/51360\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.esteri.it\/en\/wp-json\/wp\/v2\/media?parent=51360"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.esteri.it\/en\/wp-json\/wp\/v2\/categories?post=51360"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.esteri.it\/en\/wp-json\/wp\/v2\/tags?post=51360"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}