{"id":15411,"date":"2011-10-17T17:31:50","date_gmt":"2011-10-17T15:31:50","guid":{"rendered":"http:\/\/www.rapportoconfidenziale.org\/?p=15411"},"modified":"2011-10-17T18:40:57","modified_gmt":"2011-10-17T16:40:57","slug":"oscar-2011-lista-completa-miglior-film-in-lingua-straniera","status":"publish","type":"post","link":"https:\/\/www.rapportoconfidenziale.org\/?p=15411","title":{"rendered":"Oscar 2011. Lista completa “Miglior film in lingua straniera”"},"content":{"rendered":"

\"\"<\/p>\n

Gli Oscar<\/a> sono un gioco ma le nominations sono spesso qualcosa di interessante: segnalano in maniera sommaria, e ci mancherebbe altro, alcune fra le migliori opere cinematografiche dell’ultimo anno, composto, par di capire scorrendo l’elenco, non proprio da 365 giorni giorni, ma qualcosa di pi\u00f9 (il riferimento \u00e8 al bellissimo Morgen<\/a><\/i>, in prima mondiale niente meno che a Locarno 2010). Non sarebbe una cattiva cosa recuperarne qualcuno, anche solo per capire un po’ meglio cosa si muove nel cinema internazionale, soprattutto in cinematografie piuttosto inedite per il panorama planetario (su tutti i film provenienti dagli stati appartenenti all’ex Jugoslavia, le repubbliche baltiche, ma pure il film vietnamita, quello kazako, l’islandese e l’egiziano.<\/p>\n

Il sistema di nominations da poco rinnovato, basato su commissioni nazionali composte da registi ed operatori del settore, pur risentendo di logiche di potere non propriamente cristalline (ovviamente l’Italia<\/a> in questa tendenza non \u00e8 seconda a nessuno), si dimostra in grado di compiere una selezione piuttosto interessante se valutata nel suo complesso.<\/p>\n

Di sicuro dunque l’elenco che segue non rappresenta la lista dei 65 migliori film dell’ultimo anno ma ci segnala 65 titoli, di 65 nazionalit\u00e0 differenti, fra i migliori dell’ultima stagione cinematografica. E non ci pare poca cosa.<\/font><\/p>\n

 <\/p>\n

ALBANIA \u2013 <\/span>Amnesty | Bujar Alimani<\/i>
\nARGENTINA \u2013 <\/span>Aballay | Fernando Spiner<\/i>
\nAUSTRIA \u2013 <\/span>Breathing | Karl Markovics<\/i>
\nBELGIO \u2013 <\/span>Bullhead | Michael R. Roskam<\/i>
\nBOSNIA ERZEGOVINA \u2013 <\/span>Belvedere | Ahmed Imamovic<\/i>
\nBRASILE \u2013 <\/span>Elite Squad: The Enemy Within | Jos\u00e9 Padilha<\/i>
\nBULGARIA \u2013 <\/span>Tilt | Viktor Chouchkov, Jr.<\/i>
\nCANADA \u2013 <\/span>Monsieur Lazhar | Philippe Falardeau<\/i>
\nCILE \u2013 <\/span>Violeta Went to Heaven | Andr\u00e9s Wood<\/i>
\nCINA \u2013 <\/span>The Flowers of War | Zhang Yimou<\/i>
\nCOLOMBIA \u2013 <\/span>The Colors of the Mountain | Carlos C\u00e9sar Arbel\u00e1ez<\/i>
\nCOREA DEL SUD \u2013 <\/span>The Front Line | Jang Hun<\/i>
\nCROAZIA \u2013 <\/span>72 Days | Danilo Serbedzija<\/i>
\nCUBA \u2013 <\/span>Havanastation | Ian Padr\u00f3n<\/i>
\nDANIMARCA \u2013 <\/span>Supercl\u00e1sico | Ole Christian Madsen<\/i>
\nEGITTO \u2013 <\/span>Lust | Khaled el Hagar<\/i>
\nESTONIA \u2013 <\/span>Letters to Angel | Sulev Keedus<\/i>
\nFILIPPINE \u2013 <\/span>The Woman in the Septic Tank | Marlon N. Rivera<\/i>
\nFINLANDIA \u2013 <\/span>Le Havre | Aki Kaurism\u00e4ki<\/i>
\nFRANCIA \u2013 <\/span>Declaration of War | Val\u00e9rie Donzelli<\/i>
\nGEORGIA \u2013 <\/span>Chantrapas | Otar Iosseliani<\/i>
\nGERMANIA \u2013 <\/span>Pina | Wim Wenders<\/i>
\nGIAPPONE \u2013 <\/span>Postcard | Kaneto Shindo<\/i>
\nGRECIA \u2013 <\/span>Attenberg | Athina Rachel Tsangari<\/i>
\nHONG KONG \u2013 <\/span>A Simple Life | Ann Hui<\/i>
\nINDIA \u2013 <\/span>Abu, Son of Adam | Salim Ahamed<\/i>
\nINDONESIA \u2013 <\/span>Under the Protection of Ka’Bah | Hanny R. Saputra<\/i>
\nIRAN \u2013 <\/span>A Separation | Asghar Farhadi<\/i>
\nIRLANDA \u2013 <\/span>As If I Am Not There | Juanita Wilson<\/i>
\nISLANDA \u2013 <\/span>Volcano | R\u00fanar R\u00fanarsson<\/i>
\nISRAELE \u2013 <\/span>Footnote | Joseph Cedar<\/i>
\nITALIA \u2013 <\/span>Terraferma | Emanuele Crialese<\/i>
\nKAZAKISTAN \u2013 <\/span>Returning to the ‘A | Egor Mikhalkov-Konchalovsky<\/i>
\nLIBANO \u2013 <\/span>Where Do We Go Now? | Nadine Labaki<\/i>
\nLITUANIA \u2013 <\/span>Back to Your Arms | Kristijonas Vildziunas<\/i>
\nMACEDONIA \u2013 <\/span>Punk Is Not Dead | Vladimir Blazevski<\/i>
\nMESSICO \u2013 <\/span>Miss Bala | Gerardo Naranjo<\/i>
\nMAROCCO \u2013 <\/span>Omar Killed Me | Roschdy Zem<\/i>
\nNUOVA ZELANDA \u2013 <\/span>The Orator | Tusi Tamasese<\/i>
\nNORVEGIA \u2013 <\/span>Happy, Happy | Anne Sewitsky<\/i>
\nOLANDA \u2013 <\/span>Sonny Boy | Maria Peters<\/i>
\nPER\u00d9 \u2013 <\/span>October | Diego Vega & Daniel Vega<\/i>
\nPOLONIA \u2013 <\/span>In Darkness | Agnieszka Holland<\/i>
\nPORTOGALLO \u2013 <\/span>Jos\u00e9 and Pilar | Miguel Gon\u00e7alves Mendes<\/i>
\nREGNO UNITO \u2013 <\/span>Patagonia | Marc Evans<\/i>
\nREPUBBLICA CECA \u2013 <\/span>Alois Nebel | Tom\u00e1s Lun\u00e1k<\/i>
\nREPUBBLICA DOMINICANA \u2013 <\/span>Love Child | Leticia Tonos<\/i>
\nREPUBBLICA SLOVACCA \u2013 <\/span>Gypsy | Martin Sul\u00edk<\/i>
\nROMANIA \u2013 <\/span>Morgen | Marian Crisan<\/i>
\nRUSSIA \u2013 <\/span>Burnt by the Sun 2: The Citadel | Nikita Mikhalkov<\/i>
\nSERBIA \u2013 <\/span>Montevideo: Taste of a Dream | Dragan Bjelogrlić<\/i>
\nSINGAPORE \u2013 <\/span>Tatsumi | Eric Khoo<\/i>
\nSUD AFRICA \u2013 <\/span>Beauty | Oliver Hermanus<\/i>
\nSPAGNA \u2013 <\/span>Black Bread | Agusti Villaronga<\/i>
\nSVEZIA \u2013 <\/span>Beyond | Pernilla August<\/i>
\nSVIZZERA \u2013 <\/span>Summer Games | Rolando Colla<\/i>
\nTAIWAN \u2013 <\/span>Warriors of the Rainbow: Seediq Bale | Wei Te-sheng<\/i>
\nTHAILANDIA \u2013 <\/span>Kon Khon | Sarunyu Wongkrachang<\/i>
\nTURCHIA \u2013 <\/span>Once upon a Time in Anatolia | Nuri Bilge Ceylan<\/i>
\nUNGHERIA \u2013 <\/span>The Turin Horse | B\u00e9ela Tarr<\/i>
\nURUGUAY \u2013 <\/span>The Silent House | Gustavo Hern\u00e1ndez<\/i>
\nVENEZUELA \u2013 <\/span>Rumble of the Stones | Alejandro Bellame Palacios<\/i>
\nVIETNAM \u2013 <\/span>The Prince and the Pagoda Boy | Luu Trong Ninh<\/i><\/font><\/p>\n

 <\/p>\n

\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/<\/font><\/i><\/p>\n

SPECIAL RULES FOR THE FOREIGN LANGUAGE FILM AWARD <\/b><\/p>\n

I. DEFINITION<\/b><\/p>\n

A foreign language film is defined as a feature-length motion picture produced outside the United States of America with a predominantly non-English dialogue track.<\/p>\n

II. ELIGIBILITY<\/b><\/p>\n

A. The motion picture must be first released in the country submitting it no earlier than October 1, 2010, and no later than September 30, 2011, and be first publicly exhibited for at least seven consecutive days in a commercial motion picture theater for the profit of the producer and exhibitor. It must be exhibited by means of 35mm or 70mm film or in a 24- or 48-frame progressive scan Digital Cinema format with a minimum projector resolution of 2048 by 1080 pixels, source image format conforming to SMPTE 428-1-2006 D-Cinema Distribution Master \u2013 Image Characteristics; image compression (if used) conforming to ISO\/IEC 15444-1 (JPEG 2000), and image and sound file formats suitable for exhibition in commercial Digital Cinema sites. The audio in a typical Digital Cinema Package (DCP) is 5.1 channels of discrete audio, and that is the preferred audio configuration. The minimum for a non-mono configuration of the audio shall be three channels as Left, Center, Right (a Left\/Right configuration is not acceptable in a theatrical environment). The audio data shall be formatted in conformance with SMPTE 428-2-2006 D-Cinema Distribution Master \u2013 Audio Characteristics and SMPTE 428-3-2006 D-Cinema Distribution Master \u2013 Audio Channel Mapping and Channel Labeling. <\/p>\n

B. The picture must be advertised and exploited during its eligibility run in a manner considered normal and customary to the industry. The picture need not have been released in the United States. <\/p>\n

C. No type of television or Internet transmission may occur at any time prior to the motion picture\u2019s theatrical release. <\/p>\n

D. The recording of the original dialogue track as well as the completed picture must be predominantly in a language or languages other than English. Accurate English subtitles are required. <\/p>\n

E. The submitting country must certify that creative control of the motion picture was largely in the hands of citizens or residents of that country. <\/p>\n

F. The Academy will make the final determination in all questions of eligibility. <\/p>\n

fonte: www.oscars.org\/awards\/academyawards\/rules\/84aa_rules.pdf<\/a><\/i><\/font><\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

cover image: <\/font><\/i>Attenberg di Athina Rachel Tsangari (Grecia\/2010)<\/i><\/font><\/p>\n

 <\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Gli Oscar sono un gioco ma le nominations sono spesso qualcosa di interessante: segnalano in maniera sommaria, e ci mancherebbe altro, alcune fra le migliori opere cinematografiche dell’ultimo anno, composto, par di capire scorrendo l’elenco, non proprio da 365 giorni giorni, ma qualcosa di pi\u00f9 (il riferimento \u00e8 al bellissimo Morgen, in prima mondiale niente meno che a Locarno 2010).<\/p>\n","protected":false},"author":6,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[316],"tags":[10933,10934,2671,10932],"class_list":["post-15411","post","type-post","status-publish","format-standard","hentry","category-notizie","tag-foreign-language-film-of-the-year","tag-lista","tag-migliori-film","tag-oscar"],"yoast_head":"\nOscar 2011. 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