Search results
Alessandro Blasetti (3 July 1900 – 1 February 1987) was an Italian film director and screenwriter who influenced Italian neorealism with the film Quattro passi fra le nuvole. Blasetti was one of the leading figures in Italian cinema during the Fascist era .
Alessandro Blasetti (Roma, 3 luglio 1900 – Roma, 1º febbraio 1987) è stato un regista, sceneggiatore, montatore e critico cinematografico italiano, fra i più celebri e significativi del suo tempo, tanto da poter essere definito «padre fondatore del moderno cinema italiano».
Nov 2, 2010 · Alessandro Blasetti (1900–1987), a law school graduate and failed movie extra, started out as a film critic and participant in what might be viewed as a forerunner of the French Nouvelle Vague (New Wave) of the 1950s and 1960s: the Augustus cooperative.
Jan 29, 2020 · Alessandro Blasetti is paradoxically both one of the most significant and one of the least recognised of Italian film directors. Though he started out as a critic and intellectual and was the princ...
- Stephen Gundle, Michela Zegna
- 2020
Alessandro Blasetti was born on 3 July 1900 in Rome, Lazio, Italy. He was a director and writer, known for First Communion (1950), La corona di ferro (1941) and Me, Me, Me... and the Others (1966). He was married to Maria Laura Quagliotti. He died on 1 February 1987 in Rome, Lazio, Italy.
- January 1, 1
- Rome, Lazio, Italy
- January 1, 1
- Rome, Lazio, Italy
Considered today the most significant Italian filmmaker to emerge during the 1930s, Alessandro Blasetti is best known for this great masterpiece. 1860 is the story of Garibaldi's invasion of Sicily told from the viewpoint of a newly married shepherd ...
People also ask
Who was Alessandro Blasetti?
Is Alessandro Blasetti dead or still alive?
Did Alessandro Blasetti see any Russian films before he made sole?
How did Blasetti influence the Italian film industry?
Apr 8, 2018 · A number of early 1930s films directed by Alessandro Blasetti, a prominent fascist cineaste, reinforced the traditional gender roles. However, this campaign—both in Blasetti’s later cinema and in general fascist policy—was far from straightforward.