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  1. The beginning of the cinema industry
  2. The Golden Age
  3. Avandgarde
  4. First stars and propaganda films
  5. The great crisis
  6. Cinecittà and the monopoly
  7. White telephones
  8. The neorealist season
  9. The cinema of author of the 50s, 60s and 70s
  10. Pasolini, a unique case in the Italian panorama
  11. The great season of the comedy
  12. The social and political cinema
  13. The spaghetti western
  14. Horror and thriller
  15. Splatter, erotic comedy, trash
  16. The crisis of 1980s
  17. The 1990s
  18. Other authors of the Italian cinema
  19. Animation
  20. The new millennium
  21. Italian Award Winners

The Cinema of Italy

The crisis of 1980s

At the end of 1970s, the first symptoms of a crisis are beginning to be felt in the cinema industry in Italy, a crisis that will fully explode in the 1980s and that will persist for a decade. A new physiological process is taking place and it is bound to the popularity of commercial television, with similar effect in other countries with great cinema traditions such as Japan and France. During these years the Italian comedy disappears as a genre and the cinema d'autore becomes more isolated with a flow of movies that hardly fit the social times. There are however, memorable movies, at least in the first half of the decade. Among the main movies are "La citt? delle donne" (1980), "E la nave va" (1983) and "Ginger e Fred" (1985) by Fellini, "L'albero degli zoccoli" (1978) by Ermanno Olmi (winner of Palm D'Or in Cannes), "Una giornata particolare" (1978) and "La terrazza" (1980) by Ettore Scola, "Bianca" (1984) and "La messa ? finita" (1985) by Nanni Moretti, "Minestrone" (1981) by Sergio Citti "La notte di San Lorenzo" (1982) by the Taviani brothers, "Tre fratelli" (1983) by Francesco Rosi. Although not totally made in Italy, we cannot forget "Once upon a time in America" by Sergio Leone (1984) and "The last Emperor" (1987), the movie by Bernardo Bertolucci that won 9 Oscars. On the comedy front we remember early works by Massimo Troisi who obtain praise for "Ricomincio da tre" (1981), "Scusate il ritardo" (1983) and above all "Non ci resta che piangere" (1984) with Roberto Benigni, Carlo Verdone who gives his best in "Compagni di scuola" (1988), the immortal Mario Monicelli who returns to glory with "Speriamo che sia femmina" (1988), Roberto Benigni who achieves international fame with "Il piccolo diavolo" (1988), interpreted by Walter Matthau. Along the few to be named from this decade we must remember Franco Piavoli, a self-made author who, with the first surprising and poetic work "Il pianeta azzurro" (1982) revels himself a very unique element in the Italian cinema. Piavoli, more interested in the images and the sounds of nature than in dialog, continues his work with "Nostos-Il ritorno" (1989), a fascinating re-reading of the Greek classic "Odyssey".

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