White paper on creativity - ebla center

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APPENDIX:The international repute of Italian cinemaTo form an initial idea of the prestige and reputation achieved by the Italian filmindustry, we provide a list of the most important awards won at majorinternational competitions over the last 80 years (1928-2008): Academy Awards(Oscars), Cannes International Film Festival, Venice International Film Festival,and the Berlin International Film Festival.YearCompetitionAwardFilm / Actor1934 Venice Mussolini Cup Teresa Confalonieri by Guido Brignone1935 Venice Mussolini Cup Casta Diva by Carmine Gallone1936 Venice Mussolini Cup Squadrone bianco by Augusto Gemina1937 Venice Mussolini Cup Scipione l’africano by Carmine Gallone1938 Venice Mussolini Cup Luciano Serra pilota by Goffredo Alessandrini1939 Venice Mussolini Cup Abuna Messia by Goffredo Alessandrini1940 Venice Mussolini Cup L’assedio dell’Alcazar by Augusto Gemina1941 Venice Mussolini Cup La corona by ferro by Alessandro Blasetti1942 Venice Mussolini Cup Bengasi by Augusto Gemina1946 Venice Anica Cup Paisà by Roberto Rossellini1947 Oscar Best foreign film Sciuscià by Vittorio de SicaVenice Best actress Anna Magnani for L’onorevole Angelina1948 Venice Best Italian film Sotto il sole di Roma by Renato Castellani1949 Oscar Best foreign film Ladri di biciclette by Vittorio de SicaCannes Best actress Isa Mirando for Le Mura by MalapagaVenice Best Italian film Cielo sulla palude by Augusto Gemina1950 Venice Best Italian film Domani è troppo tardi by Leonide Maguy1951 Cannes Jury Prize Miracolo a Milano by Vittorio de SicaVenice Best Italian film La città si difende by Pietro GermiBerlin Silver Bear Il cammino della speranza by Pietro Germi1952 Cannes Jury Prize Due soldi di speranza by Renato CastellaniVenice International Prize Europa ’51 by Roberto Rossellini1953 Venice Silver Lion I vitelloni by Federico FelliniBerlin Silver Bear Magia verde by Gian Gaspare Napolitano1954 Venice Golden Lion Giulietta e Romeo by Renato CastellaniVenice Silver Lion La strada by Federico FelliniBerlin Silver Bear Pane, amore e fantasia by Luigi Comencini1955 Cannes Special Prize Continente perduto by L. BonziVenice Silver Lion Le amiche by Michelangelo Antonioni1956 Oscar Best foreign film La strada by Federico FelliniBerlin Best actress Elsa Martinelli for Donatella1957 Oscar Best foreign film Le notti di Cabiria by Federico FelliniCannes Best actress Giulietta Masina for Le notti di CabiriaVenice Silver Lion Le notti bianche by Luchino ViscontiBerlin Golden Bear Padri e figli by Mario Monicelli1958 Venice Jury Prize La sfida by Francesco RosiBerlin Best actress Anna Magnani for Selvaggio è il vento1959 Venice Golden Lion Il generale della Rovere by Roberto RosselliniLa grande guerra by Mario Monicelli
Chapter 71960 Cannes Golden Palm La dolce vita by Federico FelliniJury Prize L’avventura by Michelangelo AntonioniVenice Special Prize Rocco e i suoi fratelli by Luchino Visconti1961 Cannes Best actress Sophia Loren for La ciociaraBerlin Golden Bear La notte by Michelangelo Antonioni1962 Cannes Jury Prize L’eclisse by Michelangelo AntonioniBerlin Golden Bear Salvatore Giuliano by Francesco Rosi1963 Oscar Best foreign film 8 ½ by Federico FelliniVenice Golden Lion Le mani sulla città by Francesco RosiBerlin Golden Bear Il diavolo by Gian Luigi Polidoro1964 Oscar Best foreign film Ieri, oggi, domani by Vittorio de SicaVenice Jury Prize Il Vangelo secondo Matteo by Pier Paolo Pisolini1965 Venice Golden Lion Vaghe stelle dell’Orsa by Luchino Visconti1966 Cannes Golden Palm Signore e signori by Pietro GermiVenice Golden Lion La battaglia di Algeri by Gillo Pontecorvo1967 Cannes Golden Palm Blow up by Michelangelo AntoioniVenice Jury Prize La Cina è vicina by Marco Bellocchio1968 Venice Jury Prize Nostra Signora dei Turchi by Carmelo BeneBest actress Laura Betti for Teorema1970 Oscar Best foreign film Indagine su un cittadino al di sopra by ogni sospetto by Elio PetriCannes Best actor Marcello Mastroianni for Dramma della gelosiaBest actress Ottavia Piccolo for Metello1971 Oscar Best foreign film Il giardino dei Finzi-Contini by Vittorio de SicaCannes Best actor Riccardo Cucciola for Sacco e Vanzetti1972 Cannes Jury Prize La classe operaia va in Paradiso by Elio PetriIl caso Mattei by Francesco RosiBerlin Golden Bear I racconti di Canterbury by P.P. PasoliniBest actor Alberto Sordi for Detenuto in attesa di giudizio1974 Oscar Best foreign film Amarcord by Federico FelliniCannes Jury Prize Il fiore delle mille e una notte by P.P.Pasolini1975 Cannes Best actor Vittorio Gassman for Profumo di donna1976 Berlin Silver Bear Caro Michele by Mario Monicelli1977 Cannes Golden Palm Padre padrone by Vittorio e Paolo Taviani1978 Cannes Jury Prize Ciao maschio by Marco Ferreri1979 Berlin Best actor Michele Placido for Ernesto1981 Cannes Best actor Ugo Tognazzi for La tragedia di un uomo ridicoloVenice Jury Prize Sogni d’oro by Nanni Moretti1982 Cannes Jury Prize La notte di San Lorenzo by Paolo e Vittorio TavianiBerlin Golden Bear Il marchese del Grillo by Mario Monicelli1984 Berlin Silver Bear Ballando ballando by Ettore Scola1986 Venice Jury Prize Storia d’amore by Francesco MaselliBest actor Carlo delle Piane for Regalo di NataleBest actress Valeria Golino for Storia d’amore1987 Cannes Best actor Marcello Mastroianni for Oci CiornieBerlin Best actor Gian Maria Volonté for Il caso Moro1989 Oscar Best foreign film Nuovo Cinema Paradiso by Giuseppe TornatoreCannes Jury Prize Nuovo Cinema Paradiso by Giuseppe TornatoreVenice Best actor Marcello Mastroianni and Massimo Troisi for Che ora é1991 Oscar Best foreign film Mediterraneo by Gabriele SalvatoresBerlin Golden Bear La casa del sorriso by Marco FerreriBerlin Best director Ultrà by Ricky Tognazzi1992 Cannes Jury Prize Il ladro di bambini by Gianni Amelio1993 Venice Best actor Fabrizio Bentivoglio for Un’anima divisa in dueWHITE PAPER ON CREATIVITY 189
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White pape
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IndexAcknowledgements .............
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IndexPart III......................
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Index14.5 Repercussions on art coll
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AcknowledgementsThe White</
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We would like to thank Michelangelo
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Chapter 1Michelangelo Pistoletto -
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Chapter 1intellectual, literary and
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Chapter 1leisure, entertainment, cu
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Chapter 1systems, in which there is
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Chapter 1territory, a cultural dist
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Chapter 1Social qualitySocial quali
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Chapter 1intangible cultural goods
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Chapter 1and quality certification)
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Chapter 1In the case of “absorpti
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Chapter 1According to this classifi
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Chapter 1Figure 1.3 - The creativit
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Chapter 1Table 1.2 - Value Added an
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Chapter 1Figure 1.5 - Contribution
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Chapter 1Figure 1.6 - Comparison wi
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Chapter 2Chapter 2The Italian model
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Chapter 2interest”. Thus since 20
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Chapter 2intercultural dialogue for
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Chapter 2There is a strong interdep
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Chapter 2On this point the recommen
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Chapter 2edited by Frontier Economi
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Chapter 2measure the sectors of eco
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Chapter 2publishing and architectur
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Charter 3Michelangelo Pistoletto -
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Chapter 3physical setting of our ho
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Chapter 3morphology and peripherals
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Chapter 3moving raw materials, manu
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Chapter 3world. But it is also a ve
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Chapter 3society” also involves t
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Chapter 3outcomes. The problem is n
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Chapter 3greatly empowered in terms
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Chapter 3widespread crime and pover
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Chapter 3The Harvard economist Edwa
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Chapter 3This means that consumptio
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Chapter 3concentrate in larger and
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Chapter 3Cultural openness towards
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Chapter 33.7 Concluding remarks :It
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Part II
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Part IISymbolic goodsThere is no ra
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Part IIMaterial culture goods as mi
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Part IIobjects. In short, quality d
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Chapter 4Michelangelo Pistoletto
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Chapter 4accessories has built up t
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Chapter 44.2 The roots of Italiande
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Chapter 4All of these factors would
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Chapter 4business) as most resident
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Chapter 4They may collaborate simul
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Chapter 4ideas and research to the
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Chapter 4Table 4.1 - Companies in t
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Chapter 4From an initial interpreta
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Chapter 4profession, which combines
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Chapter 5but also in generating inc
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Chapter 5private institutions, such
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Chapter 5of exports to the main mar
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Chapter 5Croce in Tuscany) and thos
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Chapter 5Table 5.5Brand Country Sec
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Chapter 5squares - to the equation
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Chapter 5A last vitally important e
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Chapter 5Worldwide there are around
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Page 133 and 134:
Chapter 6The taste industry or rath
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Chapter 6aim of creating a virtuous
Page 137 and 138: Chapter 6The taste industry has vis
Page 139 and 140: Chapter 6and vegetables (18%). On l
Page 141 and 142: Chapter 6compared to traditional, n
Page 143 and 144: Chapter 6Spelta). Farro is consider
Page 145 and 146: Chapter 6The Italian guidebook, Gam
Page 147 and 148: Chapter 6and the channels of the la
Page 149 and 150: Chapter 6Table 6.3 shows the region
Page 151 and 152: Chapter 6adulterated with methanol,
Page 153 and 154: Part III
Page 155 and 156: Part IIIThe superstar phenomenonWhy
Page 157 and 158: Part IIIis easy to see that such co
Page 159 and 160: Chapter 7Chapter 7Film7.1 Italian c
Page 161 and 162: Chapter 7In the last few years Ital
Page 163 and 164: Chapter 7withdraws to a personal po
Page 165 and 166: Chapter 7market for films in cinema
Page 167 and 168: Chapter 7more films than the USA (i
Page 169 and 170: Chapter 7Figure 7.4 - Average admis
Page 171 and 172: Chapter 7in this situation is Franc
Page 173 and 174: Chapter 7i.e. films with the best r
Page 175 and 176: Chapter 7correlated to the capacity
Page 177 and 178: Chapter 7television in 2000-2005 re
Page 179 and 180: Chapter 7The difficult relationship
Page 181 and 182: Chapter 7Figure 7.12 - Italians’
Page 183 and 184: Chapter 7comedies which were box-of
Page 185 and 186: Chapter 7Bagnoli, near Naples, whic
Page 187: Chapter 77.7 ConclusionsThe Italian
Page 191 and 192: Chapter 8Michelangelo Pistoletto
Page 193 and 194: Chapter 88.1 Company sizeBoth in pu
Page 195 and 196: Chapter 8dynastic line have not alw
Page 197 and 198: Chapter 8It may be no exaggeration
Page 199 and 200: Chapter 88.5 The individual sectors
Page 201 and 202: Chapter 8are many complaints that e
Page 203 and 204: Chapter 8it has forced smaller comp
Page 205 and 206: Chapter 8The two large national net
Page 207 and 208: Chapter 8changes in political power
Page 209 and 210: Chapter 9Chapter 9Software, Compute
Page 211 and 212: Chapter 9on its capacity to be a sy
Page 213 and 214: Chapter 9Some people even talked of
Page 215 and 216: Chapter 99.3 The Italian caseA prof
Page 217 and 218: Chapter 9Zetel; SeaSoft S.p.A is a
Page 219 and 220: Chapter 9On this market, after its
Page 221 and 222: Chapter 9technologies: 92% of small
Page 223 and 224: Chapter 9Table 9.5 highlights the m
Page 225 and 226: Chapter 9Table 9.7 highlights a ver
Page 227 and 228: Chapter 9figures concerning small c
Page 229 and 230: Chapter 10Cittadellarte - “Italy
Page 231 and 232: Chapter 10and ultimately also consu
Page 233 and 234: Chapter 10been little explored by c
Page 235 and 236: Chapter 10advertising, re-launched
Page 237 and 238: Chapter 10Current creative practice
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Chapter 10Communications and creati
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Chapter 10Creativity and communicat
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Chapter 10Public relations and corp
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Chapter 10In Italy political commun
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Chapter 10on research conducted by
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Chapter 10flags in the past). But a
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Part IVThe historical and artistic
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Part IVLastly, the intangible goods
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Chapter 11Chapter 11The Cultural He
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Chapter 11requires processes of co-
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Chapter 11potential in 153 communal
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Chapter 11image and a primary sourc
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Chapter 11important for the success
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Chapter 11meticulous process of gat
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Chapter 11cultural institutes to ac
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Chapter 11in cultural consumption -
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Chapter 11period of 8%. Someone mig
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Chapter 1111.6 ConclusionsAs we hav
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Chapter 12Chapter 12Architecture12.
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Chapter 12Architectural quality and
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Chapter 12sustainability. In this c
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Chapter 12works published in at lea
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Chapter 12Figure 12.3 Technical fir
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Chapter 1212.4 The bricks of creati
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Chapter 12individuals, then the gre
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Chapter 12designs. Exchanging ideas
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Chapter 12periods abroad thanks to
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Chapter 12harmonious insertion of a
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Chapter 12work, linking up and inte
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Chapter 13Chapter 13The Performing
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Chapter 13photostories, soap operas
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Chapter 13These experiments, seen a
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Chapter 13Table 13.2 - Diversificat
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Chapter 13Figure 13.1 presents the
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Chapter 1313.5 The performing arts:
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Chapter 13developments. Moreover, t
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Chapter 13programmes to changed soc
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Chapter 13education colleges”) pr
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Chapter 13Table 13.5 - The Italian
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Chapter 13emblematic. The company r
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Chapter 14Chapter 14Contemporary Ar
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Chapter 14similar phenomena are now
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Chapter 14driving the growth of gal
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Chapter 14income for the state woul
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Chapter 14Table 14.1 - Accademie di
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Chapter 14and the perception of the
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Chapter 14situation. With very few
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Chapter 14completely. In other word
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Chapter 14find one’s find bearing
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Chapter 14Centro per l’ArteContem
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Charter 15Michelangelo Pistoletto
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Chapter 15Ambitions and Key Decisio
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Chapter 15Key decision 4On the dema
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Chapter 15Ambition 8. Culture and d
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Chapter 15Ambition 10. Express an I
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Chapter 15Creative cities and local
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Chapter 15Action 4 : Organise inter
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Chapter 15so hard in recent years t
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Chapter 15system. As the “global
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Chapter 15ObjectiveEncourage the en
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Chapter 15• stop agricultural and
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Chapter 152 Publishing, Radio and T
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Chapter 153 Computer, Software and
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Chapter 15ObjectiveRedesign the rel
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Chapter 15visitors but also taking
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Chapter 15ObjectiveSupport the inte
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Chapter 15local authorities in orde
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Chapter 15important invitation (for
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Notescountries must incorporate the
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Notesxlviii The Doxa-Mercury-Tourin
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Noteslxxv A recent study (D. Urruti
Page 381 and 382:
BibliographyAntonelli, C. e Barbiel
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BibliographyCreplet F., Dupouet O.,
Page 385 and 386:
BibliographyHall P. (1998), Cities
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Morelli M. (2003), Teoria e tecnich
Page 389 and 390:
BibliographySacco, P.L., Tavano Ble
Page 391 and 392:
BibliographyTorino Internazionale,
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AuthorsAuthorsPriscilla Altili - Pr
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AppendixAppendixWHITE PAPER ON CREA
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AppendixConception andProductionDis
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AppendixPUBLISHINGConception andPro
Page 401:
AppendixConceptionand ProductionARC
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