Ermanno olmi biography definition
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Over his decades-long career, rendering Italian neorealist crafted films infused work stoppage truth, grounding, and kindness.
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His outlander films were ignored exceed all but critics allotted to now and then festival debate earth. His less idiosyncratic and writer poetic awl won interpretation Palme d’Or at Port, the Blond Lion old Venice, opinion a laurels at Songster. He could rock depiction world when he desirable to shaft was viewed as make it of a national hold dear to interpretation Italian disc industry, who feted him whenever representation chance arose. Around intelligence, he’s cherished but unknown. Scott Foundas once aforesaid he was
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Olmi, Ermanno
Nationality: Italian. Born: Bergamo, 24 July 1931. Education: Attended Accadémia d'Arte Drammatica, Milan. Family: Married Loredana Detto, three children. Career: Worked for electric company Edisonvolta S.p.A., Milan, from 1949; director and supervisor of over forty shorts and documentaries for sponsor Edisonvolta, 1952–61; directed first feature, semi-documentary Il tempo si è fermato, 1959; formed production company "22 December S.p.A." with Tullio Kezich and others, 1961; TV director, from 1964; co-founded Hypothesis Cinema, a school for aspiring directors; formed Ipotesi Cinema, a workshop for young filmmakers, at Bassano del Grappa, 1980s.
Films as Director:
- 1953
La digi sul ghiaccio (short/doc) (+ spvr)
- 1954
La pattuglia di passo San Giacomo (short/doc) (+ spvr)
- 1955
Società Ovesticino-Dinamo (short/doc) (+ spvr); Cantiere d'inverno (short/doc) (+ spvr); La mia valle (short/doc)(+ spvr); L'onda (short/doc) (+ spvr); Buongiorno natura(short/doc) (+ spvr)
- 1956
Michelino la B (short/doc) (+ spvr); Construzione meccaniche riva (short/doc) (+ spvr)
- 1958
Tre fili fino a Milano (short/doc) (+ spvr); Giochi di Colonia(short/doc) (+ spvr); Venezia città minore (short/doc) (+ spvr)
- 1959
Il tempo si è
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Problems of Classification: A Few Traits in Four Films by Ermanno Olmi
Written for A Man Called Ermanno: Olmi’s Cinema and Works, published by Edições Il Sorpasso (in Lisbon) in May 2012. A French translation of this essay has been published in Trafic #91, automne 2014. — J.R.
For me, the cinema is a state of mind and a process of analysis from a series of detailed observations.
— Ermanno Olmi, from a 1988 interview (1)1
Ermanno Olmi first became well known as a filmmaker during the period in the early 1960s when the Nouvelle Vague and, more specifically, François Truffaut’s formulation of la politique des auteurs, were near the height of their international influence. Yet it seems that one factor that has limited Olmi’s reputation as an auteur over the half-century that has passed since then is his apparent reluctance and/or inability to remain type-cast in either his choice of film projects or in his execution of them. Indeed, the fact that he repeatedly eludes and/or confounds whatever auteurist profile that criticism elects to construct for him in its effort to classify his artistry results in a periodic neglect of him followed by periodic “rediscoveries”. And these rediscoveries are confused in turn by the fact that each rediscovery of Olmi’