{"id":31418,"date":"2014-05-15T13:18:11","date_gmt":"2014-05-15T11:18:11","guid":{"rendered":"http:\/\/www.rapportoconfidenziale.org\/?p=31418"},"modified":"2014-11-02T00:52:49","modified_gmt":"2014-11-01T23:52:49","slug":"ilcanedipavlov-cannes-classics","status":"publish","type":"post","link":"https:\/\/www.rapportoconfidenziale.org\/?p=31418","title":{"rendered":"ilcanediPavlov! | Cannes Classics"},"content":{"rendered":"<p><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2014\/05\/claudia.jpg\" alt=\"claudia\" width=\"1112\" height=\"737\" class=\"aligncenter size-full wp-image-32870\" srcset=\"https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2014\/05\/claudia.jpg 1112w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2014\/05\/claudia-150x100.jpg 150w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2014\/05\/claudia-300x198.jpg 300w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2014\/05\/claudia-1024x678.jpg 1024w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2014\/05\/claudia-436x288.jpg 436w\" sizes=\"auto, (max-width: 1112px) 100vw, 1112px\" \/><\/p>\n<p style=\"line-height: 150%\"><font face=\"Georgia\" size=\"2\"><i>Qual \u00e8 il riflesso condizionato (o pavloviano) che ci scatta quando sentiamo la parola Cannes? Croisette!<br \/>\nDal 1939, con qualche interruzione dovuta alla seconda guerra mondiale (robetta insomma), il bel mondo del cinema, della finanza e dell&#8217;evasione (fiscale) si da appuntamento a pochi chilometri dal paradiso fiscale monegasco per celebrare la settima arte e l&#8217;ego(mania). Un convegno al quale convergono registi, produttori, attori e critici (brutta razza) per ammirare film e bellezze varie. A Cannes sono passati tutti, regolarmente in posa di fronte all&#8217;orda di fotografi e obiettivi. Tra mondanit\u00e0 e carnevalata Cannes \u00e8 stato e rimane l&#8217;ombelico del mondo cinefilo (dell&#8217;occidente), crocevia di nuove tendenze, calderone del glamour. Le foto scattate sulla Croisette sono fossili che ci ricordano il trascorrere del tempo, incubatori di memoria e mode, celebrazioni dell&#8217;effimero.<\/i><\/font><\/p>\n<p style=\"line-height: 150%\">&nbsp;<\/p>\n<p style=\"line-height: 150%\"><font face=\"Georgia\" size=\"4\"><b>Cannes Classics<\/b><\/font><\/p>\n<p style=\"line-height: 150%\"><font face=\"Georgia\" size=\"2\">by ilcanediPavlov!<\/font><\/p>\n<p style=\"line-height: 150%\">&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2014\/05\/anita.jpg\" alt=\"\" title=\"anita\" width=\"620\" height=\"482\" class=\"aligncenter size-full wp-image-31420\" srcset=\"https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2014\/05\/anita.jpg 620w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2014\/05\/anita-300x233.jpg 300w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/><\/p>\n<p style=\"line-height: 150%\"><font face=\"Georgia\" size=\"2\">Cannes Film Festival 1967 &#8211; Keith Richards e Anita Pallenberg<\/font><\/p>\n<p style=\"line-height: 150%\">&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2014\/05\/anita2.jpg\" alt=\"\" title=\"anita2\" width=\"620\" height=\"412\" class=\"aligncenter size-full wp-image-31421\" srcset=\"https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2014\/05\/anita2.jpg 620w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2014\/05\/anita2-300x199.jpg 300w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/><\/p>\n<p style=\"line-height: 150%\"><font face=\"Georgia\" size=\"2\">Cannes Film Festival 1967 &#8211; Ursula Andress<\/font><\/p>\n<p style=\"line-height: 150%\">&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2014\/05\/cahiers.jpg\" alt=\"\" title=\"cahiers\" width=\"620\" height=\"556\" class=\"aligncenter size-full wp-image-31422\" srcset=\"https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2014\/05\/cahiers.jpg 620w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2014\/05\/cahiers-300x269.jpg 300w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/><\/p>\n<p style=\"line-height: 150%\"><font face=\"Georgia\" size=\"2\">Cannes Film Festival 1968 &#8211; Claude Lelouch, Jean-Luc Godard, Francois Truffaut, Louis Malle e Roman Polanski<\/font><\/p>\n<p style=\"line-height: 150%\">&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2014\/05\/Catherine.jpg\" alt=\"\" title=\"Catherine\" width=\"620\" height=\"849\" class=\"aligncenter size-full wp-image-31423\" srcset=\"https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2014\/05\/Catherine.jpg 620w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2014\/05\/Catherine-219x300.jpg 219w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/><\/p>\n<p style=\"line-height: 150%\"><font face=\"Georgia\" size=\"2\">Cannes Film Festival 1965 &#8211; Fran\u00e7oise Dorl\u00e9ac e Catherine Deneuve<\/font><\/p>\n<p style=\"line-height: 150%\">&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2014\/05\/dennis.jpg\" alt=\"\" title=\"Hopper\" width=\"620\" height=\"978\" class=\"aligncenter size-full wp-image-31424\" srcset=\"https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2014\/05\/dennis.jpg 620w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2014\/05\/dennis-190x300.jpg 190w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/><\/p>\n<p style=\"line-height: 150%\"><font face=\"Georgia\" size=\"2\">Cannes Film Festival 1980 &#8211; Dennis Hopper<\/font><\/p>\n<p style=\"line-height: 150%\">&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2014\/05\/jack.jpg\" alt=\"\" title=\"jack\" width=\"620\" height=\"482\" class=\"aligncenter size-full wp-image-31425\" srcset=\"https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2014\/05\/jack.jpg 620w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2014\/05\/jack-300x233.jpg 300w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/><\/p>\n<p style=\"line-height: 150%\"><font face=\"Georgia\" size=\"2\">Cannes Film Festival 1981 &#8211; Jack Nicholson<\/font><\/p>\n<p style=\"line-height: 150%\">&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2014\/05\/lolita.jpg\" alt=\"\" title=\"lolita\" width=\"620\" height=\"482\" class=\"aligncenter size-full wp-image-31426\" srcset=\"https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2014\/05\/lolita.jpg 620w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2014\/05\/lolita-300x233.jpg 300w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/><\/p>\n<p style=\"line-height: 150%\"><font face=\"Georgia\" size=\"2\">Cannes Film Festival 1960 &#8211; France Anglade<\/font><\/p>\n<p style=\"line-height: 150%\">&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2014\/05\/Martin.jpg\" alt=\"\" title=\"Martin\" width=\"620\" height=\"426\" class=\"aligncenter size-full wp-image-31427\" srcset=\"https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2014\/05\/Martin.jpg 620w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2014\/05\/Martin-300x206.jpg 300w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/><\/p>\n<p style=\"line-height: 150%\"><font face=\"Georgia\" size=\"2\">Cannes Film Festival 1978 &#8211; Martin Scorsese e Robbie Robertson<\/font><\/p>\n<p style=\"line-height: 150%\">&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2014\/05\/oop.jpg\" alt=\"\" title=\"oop\" width=\"620\" height=\"882\" class=\"aligncenter size-full wp-image-31428\" srcset=\"https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2014\/05\/oop.jpg 620w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2014\/05\/oop-210x300.jpg 210w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/><\/p>\n<p style=\"line-height: 150%\"><font face=\"Georgia\" size=\"2\">Cannes Film Festival 1962 &#8211; Agn\u00e8s Varda e Corinne Marchand<\/font><\/p>\n<p style=\"line-height: 150%\">&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2014\/05\/serge.jpg\" alt=\"\" title=\"serge\" width=\"620\" height=\"482\" class=\"aligncenter size-full wp-image-31429\" srcset=\"https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2014\/05\/serge.jpg 620w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2014\/05\/serge-300x233.jpg 300w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/><\/p>\n<p style=\"line-height: 150%\"><font face=\"Georgia\" size=\"2\">Cannes Film Festival 1969 &#8211; Serge Gainsbourg e Jane Birkin<\/font><\/p>\n<p style=\"line-height: 150%\">&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2014\/05\/sophia.jpg\" alt=\"\" title=\"sophia\" width=\"620\" height=\"620\" class=\"aligncenter size-full wp-image-31430\" srcset=\"https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2014\/05\/sophia.jpg 620w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2014\/05\/sophia-150x150.jpg 150w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2014\/05\/sophia-300x300.jpg 300w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/><\/p>\n<p style=\"line-height: 150%\"><font face=\"Georgia\" size=\"2\">Cannes Film Festival 1959 &#8211; Sophia Loren<\/font><\/p>\n<p style=\"line-height: 150%\">&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2014\/05\/tits.jpg\" alt=\"\" title=\"tits\" width=\"620\" height=\"407\" class=\"aligncenter size-full wp-image-31431\" srcset=\"https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2014\/05\/tits.jpg 620w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2014\/05\/tits-300x196.jpg 300w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/><\/p>\n<p style=\"line-height: 150%\"><font face=\"Georgia\" size=\"2\">Cannes Film Festival 1979 &#8211; Bobbie Bresee<\/font><\/p>\n<p style=\"line-height: 150%\">&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2014\/05\/wo.jpg\" alt=\"\" title=\"wo\" width=\"620\" height=\"424\" class=\"aligncenter size-full wp-image-31432\" srcset=\"https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2014\/05\/wo.jpg 620w, https:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2014\/05\/wo-300x205.jpg 300w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/><\/p>\n<p style=\"line-height: 150%\"><font face=\"Georgia\" size=\"2\">Cannes Film Festival 1975 &#8211; Sylvia Kristel<\/font><\/p>\n<p style=\"line-height: 150%\">&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/www.rapportoconfidenziale.org\/wp-content\/uploads\/2014\/05\/claudia.jpg\" alt=\"\" title=\"claudia\" width=\"620\" height=\"411\" class=\"aligncenter size-full wp-image-31419\" \/><\/p>\n<p style=\"line-height: 150%\"><font face=\"Georgia\" size=\"2\">Cannes Film Festival 1963 &#8211; Claudia Cardinale e Burt Lancaster con gattopardo<\/font><\/p>\n<p style=\"line-height: 150%\">&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Qual \u00e8 il riflesso condizionato (o pavloviano) che ci scatta quando sentiamo la parola Cannes? Croisette! Dal 1939, con qualche interruzione dovuta alla seconda guerra mondiale (robetta insomma), il bel mondo del cinema, della finanza e dell&#8217;evasione (fiscale) si da appuntamento a pochi chilometri dal paradiso fiscale monegasco per celebrare la settima arte e l&#8217;ego(mania). Un convegno al quale convergono<\/p>\n","protected":false},"author":6,"featured_media":32870,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[2137],"tags":[47,15921,9750,147,17253],"class_list":["post-31418","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-immagini","tag-cannes","tag-cannes-film-festival","tag-festival-di-cannes","tag-ilcanedipavlov","tag-immagini"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.7 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>ilcanediPavlov! | Cannes Classics | Rapporto Confidenziale<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.rapportoconfidenziale.org\/?p=31418\" \/>\n<meta property=\"og:locale\" content=\"it_IT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"ilcanediPavlov! | Cannes Classics | Rapporto Confidenziale\" \/>\n<meta property=\"og:description\" content=\"Qual \u00e8 il riflesso condizionato (o pavloviano) che ci scatta quando sentiamo la parola Cannes? Croisette! Dal 1939, con qualche interruzione dovuta alla seconda guerra mondiale (robetta insomma), il bel mondo del cinema, della finanza e dell&#8217;evasione (fiscale) si da appuntamento a pochi chilometri dal paradiso fiscale monegasco per celebrare la settima arte e l&#8217;ego(mania). 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Croisette! Dal 1939, con qualche interruzione dovuta alla seconda guerra mondiale (robetta insomma), il bel mondo del cinema, della finanza e dell&#8217;evasione (fiscale) si da appuntamento a pochi chilometri dal paradiso fiscale monegasco per celebrare la settima arte e l&#8217;ego(mania). 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