Untitled - Austin Fisher

CREDITS
Welcome
festival & conference director
Dr. Austin Fisher / University of Bedfordshire
On behalf of everybody involved in organising this
event, I extend a warm welcome to the inaugural
Spaghetti Cinema festival: an annual celebration of the
weird and wonderful world of Italian genre cinema.
festival programmer
Neil Fox / University of Falmouth
conference committee
Prof. Luke Hockley / University of Bedfordshire
Dr. Gavin Stewart / University of Bedfordshire
Dr. Carlota Larrea / University of Bedfordshire
DESIGN
Monika Ciapala / logo, branding + art direction
BA (Hons.) Graphic Design / Uni of Bedfordshire
SCREEN PRINTING technicians
Nelda Karklina, Vilja Karhi, Janet Adesanya &
Julianna Jagielska / A&D / University of Bedfordshire
huge thanks to
Viv Cherry, Noel Douglas and Janet Emmanuel at the
Division of Art and Design, University of Bedfordshire.
press officers
Sarah Clayton and Miles Lawton
BA (Hons.) Media Production / University of Bedfordshire
event journalist
Tabitha Langley BA (Hons.) Magazine Journalism
University of Bedfordshire
distribution
Park Circus / Eureka Entertainment
inspiration
Spaghetti Cinema magazine, edited by William Connolly
sponsorship
The Research Institute for Media Art and Design /
The Division of Media Arts & Production / The Faculty
of Creative Arts, Technologies and Science University of
Bedfordshire / Luton Culture
This year our focus is on the Spaghetti
Western. With its roots in the chaotic,
often raucous Italian studio system of
the 1960s, the Western all’italiana is
now widely appreciated as a pivotal
moment in cinematic history: an object
of fascination and affection for fans,
filmmakers and scholars alike, and one
whose influence upon global popular
culture grows ever more tangible by
the year. By running a film festival and
an academic conference as parallel
and interlocking events, it is therefore
a key purpose of our endeavours to
bring together diverse perspectives on
the Italian Western, both to revisit its
cultural significance and to consider
its on-going influence on international
film industries in the era of Django
Unchained.
We are deeply honoured to welcome
Professor Sir Christopher Frayling to
this year’s event. The undisputed father
of scholarly enquiry into the genre, Sir
Christopher is also a public intellectual
of global esteem whose stewardship
of such august institutions as the
Royal College of Art and Arts Council
England have made him a fixture in
our nation’s cultural fabric. Fans of
the Spaghetti Western will be equally
excited to hear the reminiscences of
cult icon Dan van Husen, who appeared
in a total of twenty-three of the genre’s
most treasured films. Furthermore, and
as if these star appearances were not
enough, we have gathered the leading
scholars currently researching the genre
from around the world to address our
conference.
Thank you for supporting this event.
I hope to be able to talk all things
“spaghetti cinema” with you over the
coming days.
Austin Fisher
Senior Lecturer in Media Arts at the
University of Bedfordshire, and Director
of the Spaghetti Cinema festival.
timetable
thursday 11 april
17.00-18.40
Screening : Navajo Joe
19.15-21.30
Screening : For a Few Dollars More
22:00-23:50
Screening : The Mercenary
friday 12 april
09:30-10:00
Day 1 : Registration for “Spaghetti
Westerns in Transit” Conference
10:00-10:15
Welcome by Professor James Crabbe
University of Bedfordshire
10:15-11:45
Panel A – Lee Broughton,
Peter Falconer, Mikel J. Koven
11:45-12:00
Coffee
12:00-13:30
Panel B – Giovanni Memola,
Andrea Mariani, Xavier Mendik
13:30-14:30
Lunch
14:30-16:30
Panel C – Aliza Wong, Mark Wheeler,
Eleanor Andrews, Ivo Ritzer
16:30-16:45
Coffee
16:45-17:45
Keynote Lecture by Prof. Sir Christopher
Frayling: “The Quiet Man Gets Noisy: Sergio
Leone, the Italian Western and Ireland”
17:45-18:45
Drinks
18:45-21:35
Screening: The Good, the Bad and the Ugly
introduced by Prof. Sir Christopher Frayling
22:10-23:40
Screening: The Hills Run Red
saturday 13 april
10:00-10:30
Day 2 : Registration for “Spaghetti Westerns
in Transit” Conference
10:30-12:30
Panel D – Pasquale Iannone, David Hyman,
Patrick Wynne, Thomas Klein, William Grady
12:30-13:30
Lunch
13:30-15:30
Panel E – Rosemary Stott, Iain Robert Smith,
Drehli Robnik, Orhun Yakin
15:30-15:45
Coffee
15:45-16:45
Q&A with Dan van Husen
16:45-17:00
Coffee
17:00-18:55
Screening: Death Rides a Horse
19:30-21:15
Screening: The Great Silence
21:45-23:30
Screening: The Big Gundown
I am delighted to welcome all delegates and guests to this
important and exciting conference on Spaghetti Cinema.
The Research Institute of Media, Art and
Design, part of the Faculty of Creative
Arts, Technologies and Science in the
University of Bedfordshire, is hosting
this event, and undertakes teaching,
learning and research in many areas
of the Arts: from English Literature,
theatre, contemporary dance through
art and design to multi-platform
journalism, television broadcasting and
contemporary film.
We are very grateful to many colleagues
for their organisation of this event,
Professor Sir
Christopher Frayling
particularly to Dr. Austin Fisher, Senior
Lecturer in Media Arts.
Film continues to be an important
vehicle for expressing commentaries
on politics and cultures throughout the
world, and I am sure this conference will
provide an important analysis of this
special genre of film.
Professor James Crabbe
Dean of the Faculty of Creative Arts,
Technologies and Science, University of
Bedfordshire
Dan Van Husen
Guest of honour
Guest of honour
Professor Frayling was until recently
Rector of the Royal College of Art and
Chair of Arts Council England. An
historian, critic and award-winning
broadcaster, he has published eighteen
books on popular culture, art and design
and film, including Spaghetti Westerns,
Sergio Leone: Something to do With
Death, and Once Upon a Time in Italy.
In 2004, he guest-curated a major
exhibition on Leone’s Westerns at the
Museum of Western Heritage in Los
Angeles. He is currently Professor
Emeritus of Cultural History at the
Royal College of Art and a Fellow of
Churchill College Cambridge. In 2000,
he was knighted for “services to art
and design education”, and chose as
the Latin motto on his shield “Perge,
scelus, fecit mihi diem perficias”, which
roughly translates as “Go ahead, punk,
make my day”.
Professor Frayling’s keynote address
is entitled “The Quiet Man Gets Noisy:
Sergio Leone, the Italian Western and
Ireland”, and will take place at 16:45 on
Friday 12th April.
One of the genre’s most recognisable
faces, Dan van Husen appeared in
twenty three Italian Westerns between
1968 and 1975, working under the giants
of “Spaghetti” cinema: Sergio Corbucci,
Sergio Martino, Enzo G. Castellari,
Duccio Tessari, Giuliano Carnimeo,
Eugenio Martin, John Guillermin, Sam
Wanamaker, Frank Perry, Alex Singer
and many more.
He has since worked in about 135
films, with Werner Herzog, Federico
Fellini, Tinto Brass, Jess Franco, Steven
Spielberg, Jean Jaques Annaud, Gregory
Hoblits and Martin Koolhoven among
other directors. He was given a lifetime
achievement award for his contribution
to the Western genre at the 2011
Almeria Western Film Festival.
Dan van Husen will be discussing his
experiences of working in the Spaghetti
Western genre in a Q&A session at 15:45
on Saturday 13th of April.
festival running order
Notes by Austin Fisher.
thursday 11 april
thursday 11 april
friday 12 april
The Good, the Bad
and the Ugly
Navajo Joe
For a Few Dollars More
The Mercenary
Un dollaro a testa
Per qualche dollaro in più
Il mercenario
Time
Director
Music
Starring
Time
Director
Screenplay
Time
Director
Sctory
Year
17:00 - 18:40
Sergio Corbucci
Ennio Morricone
Burt Reynolds
Aldo Sambrell
1966
A mysterious Native American pursues a
band of ruthless scalp-hunting outlaws.
When the townsfolk of Esperanza
reluctantly hire him for protection,
various hidden motives become clear.
Spaghetti Westerns were apt to jettison
the ideological and racial imperatives
that were so firmly attached to the
Hollywood genre. Corbucci’s film is
therefore an oddity for placing a Native
American centre-stage. The resulting
hero figure – a subaltern angel of death
– has been cited by Quentin Tarantino
as one of the key inspirations for his
recent slave-revenge blockbuster Django
Unchained (2012). Corbucci himself was
quick to claim political significance for
many of his films: this one included.
Whether we wish to take him at his word
and interpret the violence of the racially
oppressed in a wider allegorical sense
in the Vietnam era is another matter,
but the film offers plenty for the genre
aficionado too: not least an early leading
role for Burt Reynolds.
Music
Starring
Year
19:15 - 21:30
Sergio Leone
Luciano Vincenzoni
Sergio Leone
Ennio Morricone
Clint Eastwood
Lee Van Cleef
Gian Maria Volonté
1965
Two bounty hunters, both seeking
the reward on the head of the feared
bandit Indio, form an uneasy alliance
to achieve their goal. Their prey,
however, proves elusive.
After the phenomenal success of A
Fistful of Dollars (1964), Sergio Leone
was offered an increased budget for
this, his second foray into the Italian
Western. The deserted ghost town of the
first film is replaced by bustling saloons,
while Clint Eastwood’s taciturn persona
is given an equally deadly rival. Thus,
For a Few Dollars More introduced the
distinctive visage of Lee Van Cleef to
Italian audiences, and revived his career
internationally as he became an icon of
the Spaghetti Western thereafter. The
focus on the bounty hunter figure owes
much to Hollywood precedents such as
The Naked Spur (Anthony Mann, 1952)
and Ride Lonesome (Budd Boetticher,
1959), but the tone is unmistakably
Spaghetti. Perhaps most memorably,
Gian Maria Volonté delivers an even
more deranged performance than in the
first film. This was to be Volonté’s last
dalliance with Leone’s Westerns, since
he subsequently turned down the role
of Tuco in The Good, the Bad and the
Ugly to steer his career towards political
commitment (firstly, in Damiano
Damiani’s Mexican Revolution parable
A Bullet for the General (1966)).
Screenplay
Music
Starring
Year
22:00 – 23:50
Sergio Corbucci
Franco Solinas
Giorgio Arlorio
Luciano Vincenzoni
Ennio Morricone
Tony Musante
Franco Nero
Jack Palance
1968
A Polish mercenary joins a band
of Mexican outlaws, and aids them
as they seek to support the revolution.
As the army closes in, loyalties
become strained.
When Gillo Pontecorvo asked Franco
Solinas to write a film for him set in the
Mexican Revolution, these two giants
of Italian political cinema were set to
add to their previous collaboration, The
Battle of Algiers (1966). The resulting
allegory for Western imperialism told
the story of a North American criminal
entering Mexico, being hired by peasant
revolutionaries to train them in
techniques of modern warfare and then
betraying them to the army. Traces of
the original project (such as the peasant
miners’ strike) remain, but Sergio
Corbucci turns it into a considerably
more light-hearted appeal to modish
political sentiment at the height of the
international student movement: one
of many attempts within the Spaghetti
Western genre to use revolutionary
Mexico for radical late-1960s polemic.
Musante and Nero provide the
customary Spaghetti partnership of
entertaining distrust, but it is Jack
Palance who steals the show with his
deliciously camp performance as their
sworn enemy Curly.
Il buono, il brutto, il cattivo
Time
Director
Sctory
Music
Starring
Year
18:45 – 21:35 with an
introduction by Professor
Sir Christopher Frayling
Sergio Leone
Luciano Vincenzoni
Sergio Leone
Ennio Morricone
Clint Eastwood,
Eli Wallach
Lee Van Cleef
1966
Three rival outlaws embark on a hunt
for buried treasure in the midst of the
American Civil War. As their paths
cross time and again, their goal draws
ever nearer.
Clint Eastwood’s impassive gunslinger
and Lee Van Cleef’s cold-blooded killer
make this a compelling watch, but it
is Eli Wallach’s remarkably exuberant
performance as Tuco that has made
Leone’s film a perennial favourite in the
annals of the Spaghetti Western. From
the very first wail of Ennio Morricone’s
iconic score, this is a film epic in
scale and brazen in tone. The episodic
treasure hunt and the succession
of back-stabbing partnerships that
form along the way offer humour and
spectacle in equal measure, cementing
the director’s reputation as the maestro
of the genre. The film is also notable
for its irreverent treatment of the
American Civil War: so often framed as
a traumatic yet necessary step towards
modernity, but here shown to be a
foolhardy and wasteful enterprise, as
its political complexities are literally
consumed by a cloud of dust.
friday 12 april
saturday 13 april
saturday 13 april
The Hills Run Red
Death Rides a Horse
The Great Silence
The Big Gundown
Un fiume di dollari
Da uomo a uomo
Il grande Silenzio
La resa dei conti
Time
Director
Music
Starring
Time
Director
Story
Screenplay
Music
Starring
Time
Director
Music
Starring
Time
Director
Story
Year
22:10 - 23:40
Carlo Lizzani
Ennio Morricone
Thomas Hunter
Henry Silva
Nando Gazzolo
1966
Upon his release from prison, former
Confederate renegade Jerry Brewster
discovers that his erstwhile partner in
crime has betrayed him. Determined to
have his revenge, Brewster realises that
his old friend has become powerful in
his absence.
Director Carlo Lizzani began his career
as a radical film critic and pioneer of
the internationally lauded neorealist
movement, writing the screenplays for
Germania anno zero (Roberto Rossellini,
1948) and Riso amaro (Giuseppe de
Santis, 1949). By turning to the Italian
Western, therefore, he demonstrated
the extent to which the boundary lines
between so-called “high” and “low”
culture in Italy were increasingly
blurred in this period (in his other
Western, Requiescant (1967), he even
gave a cameo to cinematic intellectual
par excellence Pier Paolo Pasolini).
The Hills Run Red displays many
features characteristic of the genre by
the mid- to late-1960s: notably through
its plot revolving around an ex-criminal
pursuing his former associate. It is also
one of a string of Spaghettis that follow
the American narrative tradition of
depicting Confederates faced with the
death of their way of life, bewildered
by the rapidity of change (the “Lost
Cause” motif): a trope with clear
relevance to audiences in the Italian
South by the 1960s.
Year
17:00 – 18:55
Giulio Petroni
Luciano Vincenzoni
Luciano Vincenzoni
Ennio Morricone
Lee Van Cleef
John Phillip Law
Luigi Pistilli
1967
Bill and Ryan pursue the same outlaw
gang to settle different scores: Bill to
avenge his murdered family; Ryan to
pay them back for a double-cross. The
two gunslingers form an uneasy alliance,
as secrets from the past come back to
haunt them.
One of the most common narrative
devices in the Spaghetti Western by
the late 1960s was that of a society in
which murderers, psychopaths and
megalomaniacs have risen to positions
of power and respectability. This goes
beyond the ambivalence towards
industrial modernity evident in many
Hollywood Westerns, and registers a
noticeably Italian attitude towards those
who govern. Death Rides a Horse is one
of the most entertaining and rewarding
such films, with Lee Van Cleef reprising
his “senior partner” persona from For a
Few Dollars More and hunting down his
former associates, for whom Western
boom-towns provide a veneer of
propriety. The arresting opening scene
owes a debt to Raoul Walsh’s Pursued
(1947) in which a hero witnesses a gang
butchering his family, then grows up to
hunt the perpetrators down.
Year
19:30 – 21:15
Sergio Corbucci
Ennio Morricone
Jean-Louis Trintignant
Klaus Kinski
Frank Wolff
Luigi Pistilli
1968
The remote mountain settlement of
Snow Hill has been torn apart by its
cruel master Pollicut, its populace driven
to outlawry and hunted by malevolent
bounty hunters. A mysterious, mute
gunslinger is their only hope.
Klaus Kinski’s mesmerising portrayal
of pure evil lies at the heart of this, one
of the most uncompromisingly bleak
Westerns ever made. Though Sergio
Corbucci has become famous for the
riotousness of his Westerns, this film
is testament to his often overlooked
finesse. Desolate snowscapes (the
Veneto region of northern Italy
standing in for the Utah Rockies)
and Jean-Louis Trintignant’s mute
gunslinger contribute to an eerie
stillness that permeates large parts of
the film, only to be broken by moments
of explosive violence. This depiction of
an insane, cruel and utterly malevolent
Wild West also plugs into modish
countercultural sentiments of the late
1960s concerning the brutality lying
barely concealed beneath the surface
of Western civilisation.
Screenplay
Music
Starring
Year
21:45 – 23:35
Sergio Sollima
Franco Solinas
Fernando Morandi
Sergio Donati
Sergio Sollima
Ennio Morricone
Lee Van Cleef
Tomas Milian
1966
A Mexican peasant, accused of rape and
murder, flees from his relentless pursuer:
the feared lawman Jonathan Corbett. As
the chase progresses, however, Corbett
begins to question his own moral code.
This film began life as a political
parable from the pen of famed Marxist
screenwriter Franco Solinas about the
oppression of Sardinian peasantry at
the hands of corrupt institutions. By
transposing the story to the Wild West,
Sergios Sollima and Donati arguably
uncover revealing parallels between
conventional representations of Mexico
and those of the Italian South, but
Solinas disowned the project, protesting
that his political vision had been
tainted. Accordingly, Sollima’s film is
either a dramatisation of Vietnam-era
anti-Western radicalism (the director’s
professed intention), or a rip-roaring
pursuit Western, depending on your
point of view. Either way, the cat-andmouse dynamic between Lee Van
Cleef’s taciturn ex-sheriff and Tomas
Milian’s guileful peasant, along with
one of Ennio Morricone’s most rousing
scores, makes this a must-see for fans
of the genre.
Spaghetti Westerns in Transit: an International Film
Conference on Transculturation and Liminality
friday 12 april
saturday 13 april
09:30 – 10:00
Conference Registration
10:00 – 10:30
Conference Registration
10:00 – 10:15
Welcome address from Professor James Crabbe
Dean of the Faculty of Creative Arts, Technologies & Science,
University of Bedfordshire
10:30 – 12:30
10:00 – 10:15
Welcome address from Professor James Crabbe
Dean of the Faculty of Creative Arts, Technologies & Science,
University of Bedfordshire
10:15 – 11:45
Panel A - Spaghetti Dialogues with American Cinema
Chair: Professor Garry Whannel, University of Bedfordshire, UK
• Dr. Lee Broughton (University of Leeds, UK): ‘Emancipation
all’Italiana: Giuseppe Colizzi and the representation of
African Americans in Italian Westerns’
• Dr. Peter Falconer (University of Bristol, UK): ‘Spaghetti
Westerns and the “Afterlife” of a Hollywood Genre’
• Dr. Mikel J. Koven (University of Worcester, UK): ‘Corbucci
Unchained: Tarantino and the Discursivity of Exploitation
Cinema’
Panel D – Bandits across Genres
Chair: Dr. Agnieszka Piotrowska, Uni of Bedfordshire, UK
• Dr. Pasquale Iannone (University of Edinburgh, UK):
‘Pietro Germi, Hybridity and the Roots of the Italo-Western’
• Professor David Hyman (Lehman College, CUNY, USA)
and Patrick Wynne (Independent Scholar): ‘Spectacles of
Insurgency: Blurring the Border between Passive Audience
and Revolutionary Witness’
• Dr. Thomas Klein (University of Mainz, Germany): ‘Outlaws,
Mercenaries and Ronins: Intercultural Transformations
between the Spaghetti Western and the Japanese Chambara
in the 1960s’
• William Grady (University of Dundee, UK): ‘Lieutenant
Blueberry and the Impact of the Spaghetti Western upon
the Comic Book Frontier’
12:30 – 13:30
Lunch
13:30 – 15:30
Panel E – Reception Tails and Legacies
Chair: Dr. Johnny Walker, De Montfort University, UK
• Dr. Rosemary Stott (Ravensbourne, UK): ‘Transit to East
Germany: The Distribution and Reception of Once Upon
a Time in the West in the German Democratic Republic’
• Dr. Iain Robert Smith (University of Roehampton, UK):
‘Cowboys and Indians: Transnational Borrowings in the
Indian “Curry” Western from Sholay (1975) to Wanted:
Dead or Alive (1983)’
• Dr. Drehli Robnik (Ludwig Boltzmann-Institute for
History and Society, Vienna, Austria): ‘Italian Westerns
and Austrian Experimental Film: Politics of Miscounts,
Historicities of Misfits, Constellations of Appropriation’
• Dr. Orhun Yakin (Hacettepe University, Turkey):
‘Once Upon a Time in Anatolia as a Reverse-Frontier
Experience in Neo-Western Genre’
15:30 – 15:45
Coffee break
15:45 – 16:45
Q&A with Dan van Husen
16:45 – 17:00
Coffee break
11:45 – 12:00
Coffee break
12:00 – 13:30
Panel B - Italian Filoni in Dialogue
Chair: Dr. Paul Rowinski, University of Bedfordshire, UK
• Giovanni Memola (Uni of Winchester, UK): ‘The Importance
of Degenerating: Gicca Palli’s Price of Death (1971) and
Italy’s Own Way to Film Genres’
• Andrea Mariani (Uni of Udine, Italy): ‘Genre Entropy:
Dissemination and Colonization of the Western in Italian
Exploitation Cinema (1970-1980)’
• Dr. Xavier Mendik (Uni of Brighton, UK): ‘A Bullet for the
Genitals: The Cult Career of Tomas Milian’
13:30 – 14:30
Lunch
14:30 – 16:30
Panel C - Transcultural Genealogies
Chair: Dr. Gavin Stewart, University of Bedfordshire, UK
• Dr. Aliza Wong (Texas Tech University, USA): ‘Italian D.O.C.
– American Cowboys, Malaysian Pirates, and the Italian
Construction of Other-ed Adventurers in Film’
• Professor Mark Wheeler (London Metropolitan University,
UK): ‘Spaghetti Westerns; the International Film Trade and
Cultural Exchange’
• Dr. Eleanor Andrews (Uni of Wolverhampton, UK): ‘How
Ercole Became Ringo: or did Maciste Learn to Tote a Gun?’
• Dr. Ivo Ritzer (University of Mainz, Germany): ‘West Meets
East. Spaghetti Westerns and Asian Cinema’
16:30 – 16:45
Coffee break
16:45 – 17:45
Keynote Lecture by Prof. Sir Christopher Frayling: ‘The Quiet
Man Gets Noisy: Sergio Leone, the Italian Western and Ireland’
17:45 – 18:45
Drinks reception
postgraduate film at
university of bedfordshire
Spaghetti Western books
Here at the University of Bedfordshire, we offer a range
of Master’s degrees in film, offering you the chance to pursue
a diversity of approaches to film production and analysis.
Designed to stimulate a critically informed understanding
of the ways in which film operates across both national
borders and technological platforms, our postgraduate film
qualifications are of tangible value in the rapidly changing
media industries.
MA Creative Digital
Film Production
MSC digital film
technologies AND production
This Master of Arts degree trains you to
make a film to a professional standard,
from scripting through to postproduction, while providing firm critical
underpinnings within contemporary
scholarly debates. You will meet leading
filmmakers and industry executives to
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This Master of Science degree equips
you with the technological skills to
both make a film to a professional
standard and to innovate future models
of filmmaking practice. You will be
well placed to engage with the rapidly
changing film industry and its related
technologies.
Contact: Dr. Austin Fisher
[email protected]
Contact: Dr. Austin Fisher
[email protected]
MA international cinema
MA documentary
This degree gives you the opportunity
to study cinema in its global context and
to interrogate the complex relationships
between national film industries.
It allows for a critical and analytical
understanding of production and
marketing processes, as well as patterns
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landscape.
Our MA Documentary trains you to
produce a major documentary project
informed by contemporary debates and
historical perspectives. You will gain
practical skills with a firm grounding in
digital video production, meet leading
filmmakers and industry executives,
and be given opportunities to visit and
screen at international film festivals.
Contact: Dr. Austin Fisher
[email protected]
Contact: Dave Green
[email protected]
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