Debito di sangue (Bestseller Vol. 69) (Italian Edition)

In fact, the protagonist, despite having been abused by a man who controlled her mind, is a heroine and a woman of incredible strength. Here are the 10 projects presented at MIA The line-up involved nine Italian TV series with a strong international appeal. Here are the titles unveiled during the event: In addition to these, the series La Compagnia del Cigno was also presented.

The series is based on the homonymous work by Elena Ferrante, and is directed by Saverio Costanzo. Palomar and eOne are currently working on the production for Sky Italia of the series Gaddafi , written by Roberto Saviano. The life of the man, together with the life of the politician, the life of the nation and the international panorama of the time are told without giving a judgment, in a succession of different settings from the Middle East to the City of London.

In the TV series set in Venice and produced by Paypermoon Italia for Rai Fiction, the main character is a career woman, who is also a mother and above all a woman. The personal story of the protagonist is intertwined in the story of the TV series with the world of work, with the ghosts of the past and the personal problems of the protagonist. The peculiarity of the series is precisely the female focus in a world of men. The story is seen through the eyes of Irene, who almost by chance is catapulted into a fashion editorial office where she knows the great talents of Made in Italy. Eternal City is a story set in Rome in May The city is the centre of cinema, politics and the church.

The lives of three normal people are upset by the death of a German actress, found stabbed in Via Veneto. Devils is a sexy thriller about conspiracy, banking scandals and features an international cast composed of Alessandro Borghi and Patrick Dempsey, among others. The TV series tells the story of an Italian man who cannot see a future in Italy and moves abroad where he challenges the greats of the London City Olympus.

The story is about two twin sisters. The Name of the Rose is a series set in Italy in the fourteenth century and is based on the famous novel by Umberto Eco. The thriller tells a story that takes place in the shadow of the Vatican. Seven teenagers studying at the prestigious Conservatory of Milan are the protagonists of a musical dramedy produced by Indigo Film in collaboration with Rai Fiction for Rai. Presented as a side event, The swan Company is a mixture of different genres in which the music in the episodes is made and interpreted by those on the screen.

Secluded as nuns and punished for any tiniest mistake or apparent misbehavior, Bianca, Apollonia and Matilda are the protagonists of a story set in mystery, since no one could ever see the girls who were the best senior musicians at their school. The talk was moderated by Marco Spagnoli and focused on his long career — a career loaded with success, from his career as a director of spy and fantasy movies film The World Is Not Enough , The Chronicles of Narnia: The Voyage of the Dawn Treader , to his parallel and prestigious career as a documentary filmmaker.

And it is no coincidence that Apted is in the list of the best documentary filmmakers worldwide. Along with the protagonists, Apted has also grown up, both as a person and as a director: It took me twenty-five years to understand this, but it allowed them to reveal things about themselves that they considered noteworthy of their personalities.

Michael Apted considers this genre so important to consider the Up documentaries his legacy to the world, as he explained to Marco Spagnoli and to the audience of the Quattro Fontane Cinema. A selected group of professional leaders from the television industry attended the TV Executive Round Table Sessions to discuss the new frontiers of seriality related to the national and international markets.

At MIA, the Mercato Internazionale Audiovisivo, currently taking place in Rome, the timeless portrait of Anna Magnani breaks in with extraordinary images that describe the greatest Italian actress even thanks to an unpublished audio interview made by Oriana Fallaci. The documentary is in post-production and will be ready for the end of the year. It presents archive images and testimonies of the great characters who have crossed the career and life of the actress: On its fourth day, MIA is attaining resounding success in all three sections — cinema, TV and documentaries — with over operators from all over the world, more than market screenings, about buyers, 4 windows of exclusive previews dedicated to films, television series and documentaries of the upcoming years; 58 pitching projects from 21 countries of feature films, drama series and documentaries still under development, 3 public presentation sessions, 4 days of B2B meetings, and around 40 Talks.

How can we support the inclusion of diversity in the film industry as well? During the meeting, the importance of representing diversity was stressed with the aim of making products universal, since by giving space to minorities the potential audience is enlarged. Today, this happens not only in the film field, but also on television, as Nish Panchal recalls: Another element to consider is the tendency to represent diversity ethnic, sexual, social, religious not only in products set in the present, but also in those set in the past period drama. What is the blockchain?

How does it work? Presented by some experts as the technology that will soon radically change practices in all business sectors, the blockchain has also made its appearance in the current debates of the film industry , and within the discussions organized in the framework of major markets and film festivals. The debate was moderated by Sampomedia founder Michael Gubbins. The panel on new technology applied to the film world was also attended by experts in the field.

But which are the legal aspects surrounding the blockchain? I will just tell you what questions you should ask to yourself and where they are going to lead you. What is your legal framework? What are going to be your challenges? A selection that shows a sector full of interesting projects. The most interesting proposals from the Italian market are presented to international buyers, representatives of the press and all the operators in the sector.

The X Rays on UK cycle aims to focus on the British film industry, bringing to light the peculiarities not only of the market, but also of successful business models and case histories. In such a scenario, there is the conversation with Paul Webster, a famous film producer, who said on the American industry: Then the comparison with the past: Paul Webster is one of the leading British film producers of his generation.

His breakthrough as a producer took place in the s: In he moved to the USA to produce films of international scope. In Italy today, drama documentaries are experiencing a real boom at cinemas. Portraits of a Life. Ben Braun , producer and sales agent — among others — of the acclaimed Wild Wild Country docuseries, said it today. Today, Braun has brought its professional know-how to the creation of leading and innovative products, with great appeal for international markets.

Among the various topics discussed during the conversation with Ben Braun, a very interesting overview of the documentary sector emerged, which the producer describes as follows: During the event, leading Italian and international managers shared their experiences and ideas on globalization in the drama sector.

The central element of the discussion was the desire to produce TV series of international appeal, but still linked to their country of origin as happened for Narcos and Colombia. Another element dealt with by the speakers was the need for international collaboration in this field. A similar project is currently being carried out by Skybound Entertainment, as the co-president of TV and film Sean Furst said: Speakers during the event showcased various clips from projects co-produced by their respective companies: Duilio Giammaria concluded the panel by pointing out the need and desire on the part of professionals to create a round table for documentary filmmakers.

How to join the Atrium TV network? We choose the members based on their availability to find financing. How does the British audiovisual industry change after Brexit?

Category: News

A special event that reveals how the main British TV producers reacted to the June referendum. In fact, if the deadline of March were complied, this sector would see a large part of the investments coming from the EU disappear. A further difficulty is that companies like Netflix invest 7 billion a year for the original programming, while for national broadcasters such a budget is inconceivable.

As Kate Crowe pointed out, National TVs need to focus on quality rather than quantity of products and economic commitment in order to compete with these giants. A new channel to be exploited could be the European OTT channel to allow broadcasters to compete with these strong international operators. Finally, Daisy Goodwin recalled that the engine of everything remains the producers, who have the task of finding new writers and financing new interesting projects. In any case, the United Kingdom remains a leading force for quality television productions, even if national broadcasters are threatened by US streamers and the danger of Brexit creates a lot of uncertainty.

British television is at a political, economic and existential crossroads and is going through a tumultuous period, but it is a country famous for having designed and produced some of the best television series in the world. Alon Shtruzman, CEO of Keshet International, is the protagonist of a panel dedicated to the international content fund of 65 million dollars. The KI Content Fund , in partnership with a large number of Israeli financial institutions, is a five-year fund that aims to bring a new stream of high-quality content with a global appeal to an international audience.

From that moment on Israel became a reference point for the audiovisual market. Keshet International is a global leader in both production and distribution. Algorithms are not everything in life. This is a firm belief of the creator of Walter Presents , the well-known video streaming of dramatic TV series from all over the world. Iuzzolino explained today at MIA: This is why, in , Iuzzolino left everything to make his dream come true: It was inaugurated in England in January and it is dedicated to critically acclaimed foreign TV series.

This is an extremely innovative service, explained Iuzzolino: Our service is exactly the opposite of an algorithm, actually: I invite you to my space if you are ready to discover something new. It is like with food: The story of Bryan Fogel and his documentary Icarus at MIA in a special meeting in which the Oscar winner reveals, among other things, the birth of such an important project in his career.

Everything starts in Fogel has been a cycling enthusiast since he was a child and his hero, until the previous year, has been the cyclist Lance Armstrong, winner of the Tour de France from to In Armstrong lost every previously won title due to doping. And to find it out, he made a decision: If I could beat every test what would the other athletes do?

However, after a few weeks Catlin retired because of a conflict of interest. After a year and a half of preparation Fogel participates in the race, realizing that the biggest change is in his ability to recover: What are the opportunities for co-production with the UK? How to co-produce with the UK: The event was moderated by Wendy Mitchell Screen International. The works may be international, but they must be considered British. New original ideas, talents and production companies from the independent Italian industry: Chiara Maria Salvo claimed the young age of her company Kimera Produzioni , whose primary objective is to sell its products abroad and challenge the public opinion in its deep-rooted prejudices.

Italy is presenting the new funds exclusively to support minority co-productions by Italian producers and the export and distribution of Italian films abroad. This marks the end of a difficult journey to meet the needs of the operators themselves. On the occasion of the event dedicated to sales agents and local distributors around the world, Roberto Stabile , Head of International Relations — ANICA, describes how these calls for proposals were created, underlining the involvement of trade associations: The main fund of 1.

Which opportunities could a documentary distributed in theatres have? Everything you need to know about the audience that could welcome docs at the cinema in the MIA panel. DOC and Events in theatres: To discuss the theme of the presence of docs in cinemas there are experts in the field such as: Actor and Producer Vinicio Marchioni is convinced of the need and importance of the presence of documentaries in theatres as a vehicle for cultural content: Why co-produce with Canada? Some of the guests were: The world of international journalism will be on Friday October 19 at 3pm at Quattro Fontane in Rome at MIA, the International Audiovisual Market which starts today, to participate to the awaited panel on the more and more virtuous relation between newspapers and documentaries , a sector which is expanding in Italy too.

Also, upcoming films, documentaries and television productions shall be presented at MIA. This year, the section will be sided by the additional innovative showcase C EU Soon, dedicated to content in production directed by debuting European talents. The three windows of Italian docs, besides being screened in exclusive viewing to the most important key players of the international panorama, can rely on a Special Lazio Region Award. MIA Mercato Internazionale Audiovisivo is an original and cross-cutting format, unique within the domestic and international landscape, where new trade, coproduction and export opportunities can be found and exploited.

In this seventh edition, it is Rai that offers the Carlo Bixio Prizes and, resuming the innovation wanted by RTI last year, will award the plaques for the best screenplay and the best concept by rewarding young people with — respectively — ten thousand and five thousand euros, in view of a contract with the broadcaster. The order of the prizes will be revealed only during the prize-giving ceremony, which will be held on Saturday 20 October at MIA, the International Audiovisual Market. A world premiere of the images of the documentary The Black Swan , dedicated to the collapse of Ponte Morandi in Genoa, will close the best docs Showcase entitled.

About twenty titles, selected by the DOC section team managed by Marco Spagnoli, will be presented to the international audience of audiovisual professionals from all over the world, and to the Italian and international press to see the excellent vitality of the Italian documentary. In this innovative showcase, never made before in Italy in the documentary field, and that somehow follows the idea of the American Upfronts, there will be important films related to the cinema of reality that marked these last years.

There will be, in fact, the winner of the Cannes Film Festival, La stradadeiSamouni directed by Stefano Savona, What are you going to do when the world is on fire? Roman director Paolo Genovese , after the international success of Perfetti Sconosciuti , moves to Hollywood to shoot his next film, The First Day of My Life , based on his own novel published by Einaudi. The plot focuses on Emily, an Olympic ex-gymnast, Aretha, a policewoman, Daniel, a child who was already a star of advertising and Napoleon, a successful professional.

These four very different characters have one thing in common: Before they can make this last gesture, they will be introduced to a mysterious character, who will give everyone a gift: After having seen the consequences of their gesture, it will be up to the protagonists to decide how to behave. However, Paolo Genovese manages to make the story more contemporary.

If in the black and white classic the protagonist, about to commit suicide, was shown a parallel reality in which he was never born, the 4 characters of The First Day of My Life will have to relate to what suicides leave behind, the consequences of their gesture: And they will have to make a choice based on this awareness. Shooting of the film will begin in the spring of in the United States, in New York , where the story is set. The cast will consist of US actors and the film will be shot entirely in English.

Discover all the incomes of the October weekend! There is still a lot of mystery around the new film by the famous Roman director, but what is certain is that it will mark a revolutionary moment in his professional life.

The story is taken from the homonymous novel by Israeli author Eshkol Nevo , written in and released in Italy in The plot of the novel unfolds on the three floors of a building in the Israeli city, where the three main families live. A novel in which introspective characters are the protagonists and where psychology and sentimentalisms merge into an overwhelming plot. At the Sacher Cinema in Rome on 13 and 27 October there will be a selection of girls aged 5 to 13 and 16 to According to rumors of Cnbc , the Californian company founded by Steve Jobs is about to challenge Netflix and Amazon in the streaming industry.

However, Apple would have studied a different strategy from its competitors. Internet streaming today is appealing to many people, its consumption is constantly increasing and more and more companies are trying to have a slice of the cake. The Californian company is getting involved too, but it does so in a different way: The new Apple app should be launched in early and would like to make its content accessible to all owners of a device such as the iPhone, iPad or Apple TV at no additional cost. According to the Wall Steet Journal there are 24 projects in the pipeline , mostly pg-rated projects, in order to increase the number of spectators.

A series of external subscription channels would be added to these projects, such as HBO and Starz. As with Amazon Prime, the giant led by Tim Cook would take a percentage of the subscriptions. The President of the Lazio Region Nicola Zingarett i announced that he had allocated , euros for the development of cinema and audiovisual. Applications for contributions may be made by private or public bodies and trade associations. Private entities applying for subsidies must not hold political office or be linked to parties. Applications must be submitted by October 27, and projects must be local in terms of implementation, type of audience and any investors involved.

Moreover, only initiatives with well-defined aims can be financed: Grants may also be allocated for activities aimed at raising public awareness of the audiovisual industry culture, for events on the evolution of the industry and to promote the activities of conservation of the audiovisual heritage of Lazio. On this occasion Verdone spoke about his next projects and in particular about the new film he is working on: We try to reach an agreement, I also understand that. The time for Italian cinema is so difficult that you have to be very careful, the results of this opening of season for Italian cinema have been terrible.

C EU Soon , whose aim is scouting up to six European films in post-production by first and second time directors, opens its first edition this year with a diverse and eclectic selection of projects that we are eager to host inside our MIA Film Market Cinema Division activities. Open to sales agents, buyers and festival programmers only, each film presentation will consist in a five minutes live-pitch with directors and producers in attendance, moderated by Wendy Mitchell Screen International , and featuring a special scene excerpt of each title, exclusively shown at MIA.

X Rays on UK. Born in the UK in , he is one of the leading British film producers of his generation. His career began in at the Gate Cinema film library in London. In this context he began to make his living, working for several cinemas and for distribution in general. In he moved to the USA to produce films with an international appeal. The main character Viggo Mortensen receives an Oscar nomination for best actor. Thriller movie Venom wins the first place in the box office.

Incredibles 2 and Smallfoot follow. Find out the incomes of October weekend! Another animation movie, Smallfoot , wins the third position with an The horror The Nun falls to the fourth place earning The new entry My Beloved Enemy is in the sixth place of the box office collecting Another new entry Pope Francis: The new movie starring Sergio Castellitto and Sabrina Ferilli Ricchi di fantasia follows, with an income of In the last position of the box office there is another new entry Never Look Away that in its first week of screening collects From Cate Blanchett to Robert Redford: A fest that will have, according to the artistic director Antonio Monda , three key words: The 38 films and documentaries featured in the Official Selection will be the protagonists of the Rome Film Fest.

Bryan Fogel debuts in Hollywood as an actor and stand-up comedian. In collaboration with Sam Wolfson he has developed, written and interpreted Jewtopia, an off-Broadway theatrical comedy about the love life of two young men looking for Jewish women. Fogel has been a cycling enthusiast since he was a child and his hero, until the previous year, has been the cyclist Lance Armstrong , winner of the Tour de France from to Fogel was mainly impressed by a particular fact: Armstrong was a hero at the time he was undergoing dozens of doping tests every day.

How was it possible that he never tested positive? To find out he made a decision: At this point the Russian scientist Grigory Radchenkov , director of the Russian anti-doping laboratory, enters the scene. After a year and a half of preparation Fogel takes part in the race, realizing that the biggest change is in his ability to recover: The story seems to be over, but it reopens on November 9, In one of the many Skype conversations between the two, the scientist fears for his life: At this point the documentary and reality begin to merge and change places: Fogel no longer makes a documentary, but becomes a reporter.

Grigory Radchenkov has carried out the most effective doping program in history, and he has the proof of it. It is such a shocking discovery that it is brought to the New York Times. On May 12 , , the whole story was published in the newspapers. The repercussions are very strong: Still today there is no information about him. Fogel reported a much bigger story than he expected. And as he explained in various interviews, he could have gone to the Olympic Committee or Russia at any time and been paid for his silence. As an alternative, he could have been afraid for his safety and pull himself out.

In the end, he decided to move forward for all the clean athletes in the world. In just a few years, he has managed to make an Israeli company a leading global producer and distributor with seven centres around the world, as well as its headquarters in Tel Aviv. Shtruzman, CEO of Keshet International , in addition to acquiring a majority stake in the British production company Greenbird Media, has recently launched an international content fund of 65 million dollars that will present at MIA Thursday, October 18 at Renowned for its wide range of quality content, Keshet Internatinal is now one of the top 10 production and distribution companies alongside much larger companies, distributing content in over countries, making it one of the top five global title exporters and the fourth in Asia.

The President of the Lazio Region, Nicola Zingaretti, presents new initiatives to promote consumption and film and audiovisual practices. The arrival of the Internet and on-demand programs that allow you to stay at home to watch movies or TV series in recent years is slowly emptying theaters. The first of the ideas presented tries to relaunch the habit of the reduced-price ticket on Wednesdays: The Lazio Region wants to encourage enthusiasts and not to attend it continuously. The funds available for the sector are also important, in particular there are two calls for proposals through which about 1,, euros will be allocated.

The first call, worth , euros, should contribute to support projects dedicated to cultural diversity and social hardship or festivals on the evolution and preservation of the audiovisual industry. Applications for participation must be submitted by October 27, and the activity must take place during on the regional territory. The second call for proposals, worth , euros, aims to promote the accessibility and safety of the spaces, thus putting a brake on the closure of cinemas. Netflix experiments this possibility through the fifth season of Black Mirror.

This is a highly-used system in videogames, where players can redirect narrative path. An option which could bring different logistical implications if applied to TV series entailing a greater workload for authors which should write stories continuation taking into account every possible narrative ramification. The interactive television is not an absolute innovation in the global panorama: However, until now it was not possible for spectators to interact with the plot and Netflix seems to be ready to be the innovator in this field.

In this week TV series won, but reality and talent shows still reach a high share. Great results also for Ulisse hosted by Alberto Angela. A great result was also achieved by Grande Fratello Vip 3 , the Canale 5 reality show that reached a The majority of Italian audience 3. Cinema won on Wednesday 26th: On Thursday 27 the winner is again a TV series: Non dirlo al mio capo starring Vanessa Incontrada on Rai 1, was watched by 4. The series produced by Rai Fiction in collaboration with Lux Vide is already in its second season. The guest of the episode was the actor Gigi Proietti who helped the presenter to tell the stories and secrets of the Sistine Chapel.

This was followed by the return of Le Iene on Italia 1, watched by 1,, spectators and a share of After conquering Venice International Film Festival public and critics, the fiction is in cinemas. The story, directed by Saverio Costanzo and based on the homonymous novel by Elena Ferrante, arouses great enthusiasm in cinemas, where, on 1, 2 and 3 of October , the first two of the eight episodes will be screened.

It was therefore a unique event for fans of the bestseller that, after having enchanted 10 million readers worldwide , has thrilled audiences throughout Italy on the first day of film screening, a remarkable success despite the fact that the series will be broadcast from November 27th on Rai1 and will be available from the same date on Raiplay and Timvision platform. From Julia Roberts to Jaden Smith: Acclaimed by the critics during the Berlinale, Daughter of Mine achieves an important goal for Italian cinema. The award was collected by Gianluigi Benedetti, the Italian ambassador in Israel.

New entries are influencing Italian box office, Incredibles 2 however still collects the highest revenue for the second week in a row. Find out all the incomes of the weekend September 27th — 30th! As already stated, new entries largely occupy the box office: Moving on in the charts, the sixth position goes to the sci-fi thriller I still see you which earned The last position goes to The Equalizer 2 starring Denzel Washington , which earned After the anglo-italian series I Medici , Rai Fiction continues to push on the international level, through an agreement with French and German public televisions.

The aim is to create a European quality product able to compete on an international scale with Otts. Leonardo tells the story of the Renaissance genius in 8 episodes, each based on a work of the artist. It will be directed by Frank Spotnitz , who already created I Medici series. The merge of the 3 National TVs allowed to guarantee an almost 30 million budget for the series.

Rai will lead these two projects. In fact, according to the agreement the new partners will meet one time every two months to confront each other with each one leading the proposed projects. The partnership will not stop here: Rai Fiction director wishes to cover contemporary and science fiction issues in the future. In the last two years there were numerous ambitious international works branded Rai Fiction. The two series will be together with the long-anticipated My brilliant friend , produced in collaboration with HBO and Tim Vision. An agreement has finally been reached for Rai governance: The Fund is aimed at feature film projects , regardless of their genre, produced under the co-production regime between Italy and Germany and intended for priority exploitation in cinemas.

In order to benefit from the aid, the co-produced works must include, on the one hand, at least one producer with registered office in Germany and , on the other hand, at least one producer with registered office in Italy. It is also provided that both producers, at the end of the development process, must submit a detailed production plan , supported by documentation proving contacts with any financial partners, distributors and broadcasters, as well as the final version of the screenplay. The grant will be paid in two ways: The filming must also begin within two years of the first payment of the grant.

These are the projects financed by the Campania Film Commission. This series has obtained funds from Campania Film Commission also for In Campania Region has allocated 1. Funds are destined for the production of work of regional major interest, either for contents and cast, authors and troupe participation. The totality of events supported by Campania Region includes numerous matters, social and educational ones but also the ones involving directors, producers, well-known actors and young talents.

From September 24th to October 1st Napoli Film Festival will take place, in its 20th edition, during which several films will be presented, comprising the docu-film Mediterranean Diet Example to the World directed by Francesco Gagliardi and starring Franco Nero. Campania Region states through an annotation that the increase, whose project will be concluded by the end of this year, is due to the mixture of already consolidated initiatives with more innovative and emerging first editions.

This variety of events and activities will have a positive impact on tourism, taking also an international interest to the Region. Dogman has been chosen to represent Italy at the next Oscars. The film is inspired by a crime story of the 80s in Rome that involved a dog groomer and a former boxer. Dogman has been selected among several other successful films of this season, such as Sulla mia pelle by Alessio Cremonini with Alessandro Borghi and The Place by Paolo Genovese with Valerio Mastandrea.

The nominations will be held in Los Angeles on January 22, , while the awards will be held on February 24, The Cologno Monzese group is expanding its collaboration with the Accenture Video Solution platform in order to enhance the Infinity video streaming service. It is an extension of the collaboration between Accenture and Infinity, launched in through the support of AVS.

So Infinity, which already offers Mediaset viewers an extensive catalogue of thousands of films and programs from different devices, will be further integrated by Accenture with new features and quality services. The goal is to support the Mediaset group in increasing the number of subscribers through better customer engagement. The AVS platform allows Mediaset to manage all of the processes characteristic of video service delivery such as back-office process management, fruition device management, reporting, content capture, promotion planning, and content distribution, enabling the company to quickly integrate new content, third-party services, and additional business models such as prepaid and business-to-business.

Mediaset will also benefit from the pre-configured processes of the AVS, for example the configuration and management of set-top boxes and advanced analytics. After last year great results, its original and cross format proves itself, unique one within the national and international panorama, placing itself among the golden opportunities of the audiovisual industry, where it is possible to find new business opportunities of co-production and product export.

With almost operators from 50 Countries , a month before the start, it already presents a qualified and extended parterre of international attendance and an always wider content offer in absolute preview, by anticipating market trends and global products of the next years. He also reminded some important data: New Disney Pixar movie Incredibles 2 directly in the first position of the box office. Discover all the incomes of the 20th — 23rd September weekend! The animation movie Incredibles 2 appears for the first time directly in the first position earning 4.

The two new entries follow: The action movie The Equalizer 2 starring Denzel Washington drops to the fourth place earning The comedy musical Mamma Mia! Here we go again falls from the first to the fifth place collecting The animation movie Hotel Transylvania: Summer Vacation also marks a drop of four places with an income of Gotti the drama movie starring John Travolta also goes down in the charts by gaining The action movie with Tom Cruise Mission: Impossible — Fallout comes after with an income of The end of the long battle between Comcast and Fox for control of Sky will be a competitive auction , which will begin on Friday, September 21, and will end on Saturday, September 22, The two historic contenders, 21st Century Fox and Comcast, will submit new final bids and it will be up to Sky shareholders to decide the fate of the company.

The procedure provides for a maximum of three rounds and offers exclusively in cash.

Stay tuned!

Fox, which has so far proposed the lowest figure, will be the first to make a new offer, followed by Comcast. A second and third round of bids will follow, after which the highest bid will be declared the winner on Saturday evening. There is a total of 57 participants selected for pitching sessions of the fourth edition of Mia Market composed by 20 films , 17 documentaries and 20 TV series.

Projects have been chosen by specific juries, consisting of international experts and professionals of the audiovisual sector. Concerning Cinema, the components are: In the TV jury there are: Finally, in the DOC section, the projects were judged by: Here is the complete list of the 57 projects that will take part to MIA pitches. How did TV advertising revenue change compared to the last year? Among television channels with an increased growth in advertising revenue in the period of January — July , Mediaset stands out.

July was a good month also for Sky , which improves compared to June limiting the drop in advertising revenue to July also meant a crashing halt for Discovery , with a 1. Concerning market share , Mediaset obtains Percentages were taken from the data processing carried out by ItaliaOggi on market data. Here we go again wins again the first place in Italian box office. The animation movie Hotel Transylvania 3: Summer Vacation and the action movie The Equalizer 2 follow. All takings of the weekend September The comedy directed by Ol Parker, Mamma Mia!

Here we go again , gains the first place in the podium of Italian box office for the second week of showing, earning It remains unchanged in the ranking Hotel Transylvania 3: Summer Vacation which gets The new entry that follows is The Equalizer 2 , the action movie with Denzel Washington and Pedro Pascal, which has earned In the 4th place there is another new entry Gotti , the drama movie starring John Travolta , that in the first week in movie theaters has earned Impossible — Fallout follows right after, earning The sixth position goes to the horror movie directed by Sylvain White, Slender Man , which collects It drops to the 7th place Adrift , the drama movie with Shailene Woodley and Sam Claflin , which has earned In the 8th position there is the new entry directed by Hirokazu Kore-Eda, Shoplifters , with Another new entry follows, On my skin , starring Alessandro Borghi with Jasmine Trinca, which has earned An announced success for Taodue, the fictions produced for Mediaset have always had great share.

In fact, they have inspired the making of a spin-off. This is the case of Antimafia Squad from which the fiction Rosy Abate — la serie was created, a series on the most loved character of the story interpreted by Giulia Michelini. A new achievement for Taodue is incoming, two of the top series broadcasted on Mediaset land abroad. On the other hand, agent Pagani from Solo , interpreted by Marco Bocci, will fascinate turkish audience.

Moreover, Berlusconi has clarified that in the future he will take into consideration a possible integration of the proposal with the Infinity streaming platform. A further necessary consequence would be the refocusing of the Cologno Monzese group in the core business of free tv. In this sense, the principal bet is the renewed Retequattro which, despite being a broadcasting net, will distinguish itself for the focus on information and current events.

The copyright directive has been approved today, although deeply checked 11th and 13th articles remain. MEPs also had to examine dozens of amendments on the text about the copyright drew up after the rejection occurred in July. Compared to the first text, the directive has been deeply modified, although preserving the thorniest articles, 11th and 13th, after all the adjustments in several procedural steps.

However, the obligation allows the usage of those publications in a non-commercial and private way. Vvvvid, MYmovieslive, PopCorn tv: There is an increasing number of on-demand film platforms which provide the consumer with a legal and free usage of a wide range of films within the catalogues. The gratuitousness of these websites depends on the film having or not the free vision license, expired rights or also the possibility to have commercial interruption or banner within the browser.

Among the best legal streaming channels like these ones, there is Vvvvid having considered the number of users and available titles. The website — where is possible to log in by the Facebook account or by a traditional e-mail registration — offers more than thousand high-quality videos and almost new entries per day.

Another successful legal streaming channel is PopCorn tv. It supplies a hundred different titles catalogues, which go from soap operas to documentaries, cartoons, Italian dubbed film, also available in the original language. Accessibility to PopCorn tv is free from registration and it is possible through any operational system, browser and by app for any portable device. Another platform that do not require registration is Paramount Channel , it allows a live streaming of tv channels and it also offers on-demand for multimedia contents.

On the other hand, MYmovieslive is presented as a virtual movie theater. Moreover, it could be possible that not everybody is aware that also YouTube offers online movie streaming. New entry Mamma mia! Here we go again rules Italian box office. Fallout follow right after. All the incomes of the weekend September It is a great start for Mamma mia! Here we go again , directed by Ol Parker with an extraordinary cast Meryl Streep , Pierce Brosnan , Colin Firth , Amanda Seyfried , since in its first weekend of projection it has earned 1.

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Summer Vacation falls to the 2nd place gaining 1. Fallout , action movie with Tom Cruise , places 3rd gaining income of Adrift , starring Shailene Woodley and Sam Claflin , stays still on The horror movie Slender Man enters the ranking placing 5th with an income of The 6th place goes to another new entry Teen Titans GO! The 7th classified is Christopher Robin , still at The 9th one is the thriller Ride , directed by Jacopo Rondinelli, which has collected The new movie by the Oscar awarded filmmaker will be proposed during the Toronto International Film Festival.

These are just some of the protagonists of the new season of Discovery Italy , which promises to be full of surprises. Another new strong point on Discovery Italy will be culinary broadcast. In the principal themes, it has been discussed about the automatic contributions reserved for audiovisual projects, concerning most of all the criteria through which these contributions must be assigned: In this regard, it has been also reminded the extension of the period within which proceeding to fully evaluate the projects — having considered a 3 to 5 years increase — in order to understand the trend of the movie in all its exploitations movie theaters, television, on demand, etc.

The chairman, Stefano Rulli, mentioned also the role of the art house cinema , by affirming that the specialized rooms have to be given value, although it is also crucial the projection of these movies in the multiplex frequented by young people. Regarding the audience it has been reaffirmed that a valid hypothesis to be kept in consideration could be a greater development in the subscription system for young people in order to bring them to movie theaters.

All to be considered projects which have largely contributed to the promotion of Umbria and which have generated a massive contribution in the increase of cinetourism.

Religioni e Filantropia nel Mediterraneo: Tradizioni, Simboli e Iconografie by Baskerville - Issuu

Among the most significant projects supported by the Umbria Film Commission it surely stands out Don Matteo. The fortunate tv series, produced by Lux Vide in partnership with Rai Fiction, with the main character Terence Hill as a priest, has come to the 11th season and it was filmed between Gubbio and Spoleto.

The city of Terni, instead, was chosen by Roberto Benigni to film several scenes of his Oscar movie, Life is beautiful. Dario Argento chose the jewish section of the monumental cemetery in Perugia for one of the most famous scene of Deep Red , the funeral of the medium Helga. The present and the future see numerous productions supported by the Umbria Film Commission too. An important recognition for the sector that will bring nourishment to small and medium companies active in Italy.

The aim is to promote the concession of new financings to the companies which operate in creative and cultural sectors, like cinema, TV, publishing industry and architecture. In the next six months it is estimated that about companies could get the access to financings, with a result of almost PMIs in the next two years. The Film Commission Campania shows the results obtained from the last productions and presents their new projects at the Venice International Film Festival.

After a year of records in , the massive wave of success of the cinema of Campania continues, landing in Venice with 9 new projects. Among the projects realized with the contribution of the region of Campania, without any doubts it stands out the tv series directed by Saverio Costanzo and based on the best-seller of Elena Ferrante, My brilliant friend.

Fiore also could explain which are going to be the next steps. First of all a media-library of the audiovisual in order to allow a quick consultation of all the available heritage, gathering the cinema which talks about Campania from the outside too. First place for Hotel Transylvania 3, followed by the two new entries Mission Impossible: Here is the ranking of the weekend 30 August — 2 September. The movie Hotel Transylvania 3: Summer Vacation remains in first place for the second week in a row, getting 2,, euros that bring the total revenue to 8,, euros.

Excellent results also for the new entry Mission Impossible: Fallout, with Tom Cruise and Henry Cavill, which won the second place earning 1,, euros. Follows the new entry with Shailene Woodley and Sam Claflin, Adrift, which collects in the first week in theatres 1,, euros. In fourth place there is another novelty, Christopher Robin, which enters the box office earning , euros. Follows the comedy directed by Abby Kohn and Marc Silverstein, I Feel Pretty, which gets , euros in the second week in theatres for a total of 1,, euros.

The Meg, which earns , euros in the fourth week of screening for a total of 4,, euros, is also in decline. At the eighth place there is the new entry Mary Shelley, played by Elle Fanning, which gets , euros. The closed-door session, will feature a selected group of leading TV professionals, exploring the topics of great impact within scripted TV Drama, for both the local and international market. These sessions aim to also highlight current opportunities within the Italian TV Market, to the international producers and executives in attendance. At the opening ceremony of the 75th Venice International Film Festival , the Minister for Cultural Heritage and Activities Alberto Bonisoli has declared that Venice 75 is a record of which to be happy and proud.

Venice International Film Festival. It is a record that we must be happy of, proud of and defend. The presence of the Minister in Venice is a demonstration of the attention of the new Government towards the Italian audiovisual industry. Rtl Group seems to have found the right path to success. The German group presented its results for the first half of , with revenues up by 2. Following the excellent results of the first half of the year, due in particular to FremantleMedia, Rtl Group decided to change its business strategies.

The German group has announced that it intends to renounce acquisitions, as in the case of Endemol Shine , a company that produces among others Big Brother, focusing instead on FremantleMedia. After production of The Magic Order , Netflix continues to bet on comics and keep its collaboration with Millarworld. The streaming giant has announced a new comic by Scottish writer Mark Millar. It is entitled Prodigy and tells the story of a brilliant man, Edison Crane, who decides to put himself at the service of humanity.

Designer of the series will be Rafael Albuquerque Batman , American Vampire , with whom Millar has previously collaborated on the comic book Huck. Venezia75 reveals for many surprises, a review increasingly open from cinema to TV, not forgetting the Ott. First day for the The star of the first day of the festival is Vanessa Redgrave, a milestone in British and international cinema, winner of the Golden Lion for Lifetime Achievement.

In fact, this year there are several films in Venice75 that do not belong exclusively to the cinema. The presence of the Ott Over the top , which at Cannes had set up a real controversy, determining then the exclusion of projects, seems to have become almost a strength for Venice The formats that will be inaugurated are: This year the Festival directed by Gianluca Giannelli and Fabia Bettini is renewed, confirming itself more and more laboratory and opportunity for meeting and training.

Alice short film competition , in collaboration with Premiere Film, is an international competition dedicated to short films, enriched by a training campus for young directors and filmmakers. The contest is aimed at young people — children between 14 and 19 years of age of Rome and Lazio — who can send their story to the mail redazcine10 gmail. To participate, applications can be submitted until September 10th, The Carlo Bixio Award extends the deadline for submission of editorial projects to Monday 10 September at Therefore young talents, aged between 18 and 30 years, will have an extra week to present a TV series project with international prospects , according to the requirements and procedures provided by the call.

The Prize offered for this edition by RAI is divided into two categories: The supervisions will be in charge of the Organizing Committee: Italian Youtubers are not satisfied with being web stars. A pioneer was certainly him, Frank Matano. Many people remember his past as Iena — one of the protagonits of a famous Italian show -, but not everyone remembers the origins of the television and film phenomenon.

Born to an American mother, Matano was already successful on the web at the age of 18 thanks to his YouTube channel where he loaded videos of telephone jokes and social experiments. Then came the first television appearances Le Iene to move in to his film debut, entering the cast of the film Fuga di cervelli , directed by Paolo Ruffini. Another example of successful YouTuber attracted later by cinema are The Jackal.

Surely, one of their most viral series on the web, inspired by the famous film and TV series Gomorrah. Another example is The Pills , which has become a phenomenon thanks to the web-series where the protagonists deal ironically with themes common to young people in the Roman suburbs. In January , the theatrical release of their first film: The Sicilian duo I soldi spicci becomes viral facing the problems of the couple with irony.

All the most influential characters on the big screen. The latest edition of the Power List of Italian cinema — produced by Box Office magazine in collaboration with Ciak — provides a snapshot of the situation in the sector. The podium of the Professionals section is dominated by Paolo Del Brocco, managing director of Rai Cinema, with a total of 18 Italian films distributed by the division 01 and In third place is Giampaolo Letta, vice president and managing director of Medusa Film. Not wothout reason, in the first position of the Talents section of the Power List there are the actress Paola Cortellesi and the director Riccardo Milani.

There are also five other women in the ranking: Ruling the the Italian box office , we find Hotel Transylvania 3: Here is the ranking of the weekend August Excellent start for Hotel Transylvania 3: I Feel Pretty , the comedy with Amy Schumer , enters the ranking cashing The Meg , shoot by Jon Turteltaub , stops at Another new entry at the seventh position: Only the Brave , directed by Joseph Kosinski , earns Chu, Crazy Rich Asians , that obtains The group, led by Brian L.

Roberts , received by the first deadline 22 August subscriptions for approximately 3. For its part, Comcast, which had previously been in the running for the acquisition of all the assets of Fox, announced at the end of July that it did not intend to continue offering the assets owned by Rupert Murdoch , to concentrate solely on the Sky satellite group. Jude Law confirmed in the cast of the Italian director with the new entry John Malkovich. The international distribution is in charge of FremantleMedia International.

The TV series shooting will start in November. From these case study related to different historical and religious traditions a lesson to be learned: Therefore it is important to analyze this complex system of practices, doctrines and visions from a prismatic perspective, that is from geographical and cultural areas in which cross-fertilization effects are visible and relevant. The Mediterranean areas are certainly a prismatic field of inquiry with their different social anthropological and institutional configurations.

Hybridization are well documented in the work of Mark R. Therefore in monotheistic religions patterns of crossfertilization have been at work since the oldest times. The religious norms and their anthropological and cultural patterns are certainly factors of differentiation which are particularly relevant in the Mediterranean areas where the coexistence of different religious traditions is a traditional feature. This statement is overwhelmed in the One can affirm that philanthropy and its institutional and associative networks entered in a phase of debate and change which characterizes, with specific connotations, the Mediterranean areas and their strategic role within the global system.

Since the Mediterranean is a crosscontinental framework this process concerns European countries including Eastern and Central Europe, Turkey as well as other continental areas, such as the MiddleEast and the Northern part of Africa. It is also a matter of fact that the most diffused religious traditions in the Mediterranean areas Jewish, Islamic and Christian — Catholic, Protestant and Orthodox — in the contemporary period as well in the past- are characterised by increasing interaction and shaped by the effects of the evolution of civil society in the framework of the persistence of long established religious and cultural practices, including social rules and legal norms.

The Islamic as well as the Jewish tradition are characterised by an increasing interaction between religious statements and practice of social justice in which philanthropic activities and their institutional drivers, such as Foundations, NPOs and NGOs — are particularly relevant because they include innovation issues as well as traditional patterns. The rules of the present: In this overview of an emerging and promising research field there is an element missed: As stated by Suraya Faroqhi. This latter condition explains why real estate was so often preferred when it came to instituting a vakif.

Men and women who established pious foundations were furthermore The exploration of the changing patterns of philanthropy and its relations with religious practices and cultures in the Mediterranean areas both from the historical point of view in the long period and in the present is no more a complementary aspect of research issues concerning the past and present of multicultural societies but it represents a core element in the study of the process of social inclusion and social exclusion as it is testified by some of the contributions to this book.

As well as by research seminars focused on this subject. The case of Turkey, Israel and Cyprus are particularly emblematic and can be considered as a strategic focus to extend and improve research projects aiming to develop comparative issues in the relation between past and present as well as among different areas within the Mediterranean as well as in a global perspective.

The relations between religion and philanthropy should be analyzed as a global prismatic system in which as previously noticed there are different patterns of reaction and interaction in the framework of historical change: In Salonika, for example, conquered from the Venetians the churches were transformed into mosques. Then there is to consider the case of differentiation of practices within the same religious framework.

As stated by Faroqhi in her Analogically these considerations recall the debate of the Franciscan movement in distinguish the usura which was forbidden by Catholic doctrine form lending out money to the benefit of community. The need to analyse the historical evolution of the waqf or more precisely vakif in Turkish, their role in the medieval period, their retrieval under the increasing domination of state authorities, is a crucial both for the scholars and the practitioners. Differentiated isomorphism can be used as an analytical tool to study the historical evolution of philanthropic institutions in the same context as well as to compare different institutional context in the same historical period.

In Italy and Turkey despite different social and political configurations, the State has controlled for long time charitable associations, such as the opere pie in Italy and the old foundations in Turkey. In both countries at When these creative patterns become a practice, grant-making activities can yield the transformative outcomes that encompass and embody social justice as a strategic goal of philanthropic activities. It is a crucial goal both in the Italian society, facing an increasing immigration of religious and cultural minorities as well as in the Turkish society characterised a twofold dynamism, between the increasing role of faith and the consolidated secularisation of institutions and social policies and between the emerging role of Islamic movement and its social and anthropological aspects and the attractiveness of European political and legal and social configuration, Multiculturalism and its effects in shaping the role of religious congregations are a crucial factor in structuring the relation between religions and philanthropy in the global context.

This is the reason why we have decided to include in this volume the case of South Africa, as an interesting framework of social and cultural change in philanthropic culture and practices in a society in rapid transition as well a study of ethical roots of philanthropy in the North American continent, as a crucial background for the discussion of both the evolution of Protestant tradition faced to the development of a multi-cultural society see Soma Hewa contribution to this volume.

Inter-cultural exchanges are a growing phenomenon and are generating new institutional configurations such as the micro-credit and the welcome banks that adapt financial tools to cultural and religious traditions. The elaboration of case studies The study on religious aspect The Mediterranean is considered — according to the historian F. The representations of philanthropy as a dynamic space of social change through the practice of giving, concretely testifies that the Mediterranean is the most vivid and interactive laboratory of creativity as well as a scholarly framework to develop comparative studies of practices, cultures and symbols of philanthropy in its evolutionary patterns.

Many stereotypes that Western mental behaviour has generated towards Mediterranean cultures and religions — with a specific reference to the Muslim tradition — appear as inconsistent and wrong. Si tratta di un fenomeno universale, su cui abbiamo moltissimi esempi, soprattutto nei contesti urbani, anche non mediterranei.

Wikkan,Sustainable Development in the Mega -City. Can the Concept Be Made Applicable? Wikkan ricordo, Managing Turbulent Hearts: Christinat, Des parrains pour la vie. Ora essi si presenterebbero virtuosamente complementari e interagenti. La riflessione in corso, tuttavia, e proprio sui temi del classico capolavoro di Hungtinton6, segue un altro percorso. Simmel, Filosofia del denaro a cura di A. Ma penso anche alla creazione di nuove cerchie sociali e di reti di riferimento politico, con leaders intermedi delle organizzazioni partitiche che garantivano la redistribuzione di risorse dal centro.

Sant Cassia with C. Esso ha consentito a immense masse di resistere ai disagi della crescita in un ambiente arretrato, minizzando i costi sociali e sviluppando strategie di autodifesa individuali e collettive che hanno reso meno penoso il cammino vero la completa intersezione nel circuito del meccanismo di mercato. Pardo, Managing Existence in Naples. Tai Landa, Trust, Ethnicity and Identity. Eppure ci ostiniamo a non applicare i suoi modelli analitici. Chayanov, The Theory of Peasant Economy, ed. Ethnic Communities in Business. Alternative al degrado, al declino, alla marginalizzazione Sapelli, Southern Europe, cit.

Si guardi ai destini tanto diversi di Barcellona e di Instanbul. Certo,si deve sempre affermare che: Klapsich-Zuber, Tuscans and their Familie: E le eccezioni sono le eccezioni dello Hinterlandindustriale piuttosto che rurale- e caratterizzano le esperienze di Barcellona, di Genova, di Trieste, di Smirne Izmir. Essa ha subitamente abbandonato quella configurazione sociale industriale per assumere quella della neo- industria e del declino, quindi, della popolazione industriale rispetto a quella del settore terziario. Conflitti, sviluppo e dissociazione dagli anni cinquanta a oggi,Marsilio, Venezia, Si pensi alla siderurgia napoletana, per esempio.

Petros, Greek Rentier Capital: Dynamic Growth and Industrial Underdervelopment e A. Fondazione Enrico Mattei, Milano Leontidou, The Mediterranean City in Transition. Social Change and Urban Development,cit. Anfossi, Prefazione, ad A. Oommen, a cura , Azioni politiche fuori dai partiti. La politica di grandi costruzioni ad uso In una pagina fondamentale dell'Etica a Nicomaco Aristotele aveva 1 collocato la ricchezza elargitrice al centro della citt e del sistema sociale.

Bekker, Berlin, II, pp. Ricchezza e povert nel cristianesimo primitivo, a cura di M. Mara, Roma, III ed. Dark — Anthea L. Harris, The Orphanage of Byzantine 3 Constantinople: Miller, The Orphanotropheion of Constantinople, in E. Albu Hanawall and C. Orselli, I Beni culturali nella committenza e nella cura dei vescovi.

Donciu, L'empereur Maxence, Bari , pp. Brodskij, Fuga da Bisanzio, tr. Forti, Adelphi edizioni 6 Milano , p. Brodskij esiliato dalla Russia nel ha avuto il Premio Nobel per la Letteratura nel Malgrado le sue professioni di antibizantinismo si fatto seppellire a San Michele di Murano, nella Venetia alterum Byzantium. Maltezou, Venezia , pp. Di Branco, con una nota di B. Hemmerdinger, testo greco a fronte, postfazione di G. Pertusi, Il pensiero politico bizantino, Edizione a cura di A.

Volpe Cacciatore, Napoli con sunto alle pp. Traduzione in tedesco in W. Su questa proposta di Tomaso Magistros cfr. Culte des saints et monarchie byzantine et post-byzantine, Bucarest, , pp. Si veda la bibliografia relativa al voivoda in A. Carile, Teologia politica bizantina, Spoleto , pp. PG 86, ristampa della notizia del Galland , cc.

Riedinger, Athenai , e di varie traduzioni cfr. Rocca, Un trattatista di et giustinianea: Bell, Glasgow , pp. Per la tradizione letteraria e politica di Agapeto rimane fondamentale cfr. Sevcenko, Agapetus East and West: Byron, The Byzantine Achievement. Carile, Materiali di storia bizantina, Bologna Haldon, Wiley-Blackwell, , pp. Pertusi, Il pensiero politico bizantino, a cura di A. Carile, Bologna, , p. Thessalonike, con aggiunta di due articoli e prosqnkev di Aikaterine Christophilopoulou , ed.

Laiou Editor in Chief, Washington, , pp. Ospedali, ospizi per viaggiatori, lebbrosari, nella capitale e lungo le vie di comunicazione, vennero eretti. Speciale cura si ebbe dei profughi e degli orfani, cui si provvedeva anche ad una forma di educazione, oltre che di mantenimento Carile, Materiali di storia bizantina, Bologna , rist. Miller, The Orphans of Byzantium. Child Welfare in the Christian Empire, Washington , pp. Finn, Almsgiving in the Later Roman Empire. Christian Promotion and Practice , Oxford Nel pensiero e nella vita dei bizantini la philanthropia era: Ecco le regole della filosofia filantropica bizantina: Farsi monaco e vivere una vita di di preghiera e mortificazione dei bisogni materiali e distribuire le ricchezze proprie ai poveri significava raggiungere la perfezione.

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Brown, Povert e leadership, cit. Arangio-Ruiz, I, Napoli , pp. Carile, Bologna , p. Alessio I Comneno consiglia al figlio: La filantropia costituiva una delle prerogative 31 J. Patlagean, Santit e potere a Bisanzio, tr. Child Welfare in the Christian Empire, Washinton , pp. Ma anche i dignitari laici assumevano una connotazione socialmente accettabile mediante operazioni filantropiche. Basilio il Grande, Giovanni Crisostomo, Sansone, Giovanni il Misericordioso, Stefano parakoimomenos di Maurizio, Dexiocrate, Michele Attaliata e molti altri si illustrarono con private fondazioni caritatevoli Licentiam igitur damus praedictis venerabilibus domibus non solum ad tempus emphytheosin facere immobilium rerum sibi competentium, sed perpetue haec emphytheotico iure volentibus dari.

XII con la relativa bibliografia sul tema della ideologia politica. Diamo licenza alle predette istituzioni venerabili di stipulare delle enfiteusi dei beni immobili di loro propriet non solo a tempo ma anche in perpetuo a favore di chi le vuole. Anche gli xenones o xenodocheia e gerocomeia offrivano servizi medici. Ospedali, cliniche, e ricoveri di Chiesa, imperatori e laici, erano usualmente annessi a luoghi di culto e di pellegrinaggio e anzi si riteneva che alcuni santi, e relative reliquie e alcune colonne avessero poteri curativi miracolosi Freu, Les figures du pauvre dans les sources , cit.

Miller, The birth of the Hospital, cit. Brown, Povert e leadership nel tardo impero romano, cit. Constantelos, Byzantine Philanthropy, cit. Due fratelli della Isauria, Teodulo e Gelasio furono gli architetti del complesso e vennero definiti i nuovi Beseel e Eliab, i biblici architetti del Tabernacolo. Carestia, locuste, peste e quindi fame, malattia e morte. Wright, Cambridge , p. Gli schiavi bambini valevano meno della met di un adulto, perch presentavano un rischio pi grande di sopravvivenza. A met del prezzo legale si potevano acquistare presso il gran principato di Kiev nel X secolo gli schiavi russi da rivendere al mercato di Costantinopoli, cfr.

Nel sobborgo costantinopolitano Irion sorgeva un leprocomion ospedale per lebbrosi denominato Zoticon. Una fonte citata dal Preger 46 afferma che fosse stato fondato da Giustino II e sua moglie Sofia Il protovestiarios Zotico ne era stato il suo primo direttore.

Un altro ptochotropheion con lebbrosario si trovava nella regione di Argyronium, sulla costa del Ponto Eusino oltre la chiesa di San Panteleimon. Preger, III, , Volk, Gesundheitswesen und Wohlttigkeit, cit. Aerio, che a causa del suo arianesimo dovette lasciare il posto. Non mancano esempi di ricchi laici fondatori di ospedali. Otto letti del secondo reparto erano a disposizione delle affezioni oculari e intestinali. Dodici letti nel terzo reparto erano riservati alle donne. Altri venti letti in due reparti servivano per malattie generali.

Ogni reparto disponeva di un letto libero per emergenze e altri sei per malattie terminali. Gli altri reparti erano dotati allo stesso modo. In un ospedale di di sessantun letti operavano trentacinque dottori. Il Typicon prescrive inoltre che di notte cinque dottori, quattro maschi e una femmina, fossero presenti in ospedale.

Ogni letto era dotato di una coperta distesa su un tavolato al modo orientale, una coperta, un cuscino e una coperta di pelo di cavallo mentre in inverno venivano fornite due imbottite. Il direttore si doveva curare della biancheria mentre i vestiti dei pazienti dovevano essere puliti e stirati. La dotazione del letto veniva rinnovata anno per anno. I vestiti scartati venivano donati ai poveri. Nel reparto donne operavano due dottori, una levatrice e quattro aiuti, due sovrannumerari e due infermiere. Miller, The Orphans of Byzantium, cit. Dottori e personale erano organizzati in due turni che cambiavano ogni mese.

I primikerioi si occupavano del vitto dei pazienti e li visitavano spesso dando disposizioni al resto del personale e fornendo le prime cure agli spedalizzati. Un professore di medicina forniva lezioni ai dottori giovani. Erano assistiti da quatto aiuti chirurghi e quattro aiuti dottori. Il direttore aveva ordine di non risparmiare nella cura del malato. Il personale subordinato comprendeva tre aiuto farmacisti, due sovrannumeari, un portiere, cuochi e loro aiuti, un mugnaio, un fornaio e un garzone di stalla per i cavalli dei dottori.

A Pasqua venivano loro dati tre pezzi di sapone per il loro bagno. Il cimitero disponeva di quattro uomini incaricati delle sepolture e di un prete Amo ricordare, con una certa nostalgia per quel piccolo mondo antico, che nel a Patrasso nel cimitero cittadino, dove mi ero recato per una colliva celebrazione dopo quaranta giorni dalla sepoltura del genitore di un amico, ho trovato un papas che giocava a carte con gli addetti al cimitero, sulla porta di ingresso, in attesa di visitatori che intendevano arruolarlo per preghiere sulle tombe e per la consumazione di un piccolo pasto rituale sul piano della tomba stessa, uso ancora praticato nel mondo ortodosso.

Stessa esortazione valeva per i cuochi, le serve, i preti e il resto del personale: Durante la Settimana Santa concedeva amnistie ai criminali condannati a morte. Il governatore universale del mondo non poteva che essere un dio terreno56, una copia del prototipo celeste. Van Nuffelen, Pseudo-Themistius, Pros basilea: Imarets public kitchens were one of the institutions commonly found in Ottoman mosque complexes established as philanthropic endowments by the wealthiest and most powerful members of Ottoman society. These complexes were often endowed as the religious, social and cultural anchor of new neighborhoods, and served the Ottomans as a means for developing and expanding existing urban spaces, or for establishing new ones.

The largest foundations included multiple structures, providing spaces for prayer, education, hospitality, hygiene, and commerce. Smaller complexes copied the large ones, touching fewer people, less grandly and in fewer ways, but nonetheless proliferating this model of philanthropic activity in additional neighborhoods, provinces or towns. A large complex could comprise one or more of the following institutions: The public kitchen usually fed the staff of the complex, the teachers and students in its madrasa and mekteb, and others, like members of the tekke, and in addition, some number of transient guests and local indigents.

Stepping back to appreciate the imarets in the broad perspective of Mediterranean history, we can place them 1. The history of changing Mediterranean hospitality practices has been carefully traced in the medieval period by Olivia Remie Constable in her book Housing the Stranger in the Mediterranean World. However, documentary evidence suggests that the sums expended on the provisions, equipment, and staff of these kitchens accounted for a major proportion of the annual expenditures of the complexes.

The imarets thus deserve close attention as the object of philanthropic spending, signaling the importance attached to providing food and sustaining certain population groups. Diet and nutrition affect physical and psychological health, directly influencing individual development, strength, cognitive abilities, emotions, productivity, Olivia Remie Constable, Housing the Stranger in the Mediterranean 2 World: Cambridge 3 University Press, Differences of diet among the richer and poorer in any society are also one of the most important markers of their respective status.

The foods that figure in charitable distributions are also an indication of the aims of the donors and the potential impact of the donation, in both substantive and symbolic terms. It adds an additional perspective to the idea that philanthropic endeavors serve as a tool of imperial legitimation: Yet the complexes were multi-purpose not only in their social and cultural services. They also served to define what was Ottoman and to spread particular aspects of Ottoman culture across the empire. Most of the current understanding about food in imarets is gleaned from the texts of the vakfiyes endowment deeds drawn up by their founders.

Typically, these documents included at least a minimal description of the dishes that were to be prepared in the kitchen, a budget for the necessary ingredients and a list of the intended clientele. Soup or stew served with bread appeared most frequently on imaret menus throughout the Ottoman Empire, for all clients. The richer dishes of dane a savory meat stew with rice and zerde a rice dish sweetened with honey and flavored with saffron were widely stipulated for the menus of festival days such as Friday and Ramadan nights, and sometimes daily for See, for example, the frequent references to food in Nathalie Zemon 4 Davis, The Gift Madison: University of Wisconsin Press, Although it is difficult to calculate precisely, imarets seem to have been important agents in the daily sustenance of Ottoman urban populations.

The historian Stephan Yerasimos estimated that around the year , food and bread were distributed daily to approximately fifteen percent of the population of Istanbul, from imarets and other endowments in the city which fulfilled similar purposes. If fifteen percent was typical of Ottoman towns which had imarets, then, when the imarets and similar institutions functioned reasonably well, they played a significant role in sustaining and shaping Ottoman society, physically and socially. Thus, it is worth exploring the uniformity and diversity of imaret menus and service even as defined normatively in the foundation deeds: Neumann and Amy Singer Istanbul: Haim Gerber has also discussed the relative importance of imarets 6 in providing daily sustenance, for which see H.

At the same time, the uniformities discovered among kitchens clarify the ideology that infused the establishment of imarets and shaped their prototype. Accounting for Food Somewhat surprisingly, Ottoman imarets as distant from each other as Istanbul and Jerusalem were meant to serve their clients much the same foods.

This uniformity of planning not only suggests some model or archetype prevalent in the minds of the imaret founders but had immediate implications for the actual management of the kitchens. It also had consequences for the people who ate at imarets. At the same time, several points of diversity existed in imaret menus: Distinctions were also made regarding the amounts of food served to particular groups, the order in which they ate, and the manner in which they were served, including where they consumed their food. More extensive discussions of sources for the study of imarets may be 8 found in Amy Singer, Constructing Ottoman Beneficence: They also reflect how diets were imagined to differ among people of varied social status and economic class, and so reveal another aspect of how status and class were visibly marked and reinforced in the Ottoman Empire.

While the vakfiyes often described the components of each meal as well as the ingredients of specific dishes, the muhasebe defterleri did not usually record such detail. Their very existence gives us some idea of how seriously the Ottomans regarded the matter of managing their large foundations. Muhasebe defterleri are all about business, with almost no descriptive information, anecdotes or observations.

They are useful when analyzed for the categories of accounting and when it is possible to use several registers in sequence. Occasionally, marginal or explanatory notes, for example on about the cost of replacing or repairing implements reveal details about how meals were prepared, served, and consumed, how foodstuffs were acquired and stored, and how kitchens were cleaned and maintained. For a discussion of kitchen maintenance, see: Chronicles are more anecdotal in their records; where they record feasts and festivities, they contribute important and unanticipated detail to our study.

Their proliferation in the Ottoman lands gave a particular, Ottoman expression to a much older practice — distributing food free of charge to defined sectors or groups in the population. The uniformity of dishes in imarets across the empire worked as an Ottomanizing mechanism. Like any cultural mode — dress, language, or aesthetic design — the imperial culinary frame could also absorb and co-exist with local forms and practices. In this way, imperial forms were altered and adjusted to fit better, if not perfectly into local contexts. This is yet another part of the Ottomanization — localization paradigm that has been articulated so fruitfully, albeit for a different period, to analyze the dynamic interaction between imperial officials posted to the provinces and the local notables who were incorporated into the ranks of Ottoman officialdom, creating an Ottoman ruling class.

It offers an important opportunity to comparison meals to be served to varying ranks of individuals with those served in the imarets. A History from Within, ed. Cambridge University Press, See also the discussion. More specifically, the uniformity in imarets disseminated a specific idea of the size and shape of a basic daily subsistence meal, at least as imagined by the Ottoman elites. They established a standard norm against which to judge the imarets themselves, as well as other hosts, whether private individuals or institutions including sufi tekkes, janissary kitchens, and imperial palaces.

The uniformity in imarets also created a certain level of expectation among their clients: In contrast, the diversity in meals at the imarets signaled to the clients how their relative status was perceived by their Ottoman hosts, when compared with the other people served from the same source. As is familiar to those studying Ottoman history, the most typical dishes served in imarets were bread together with either bulgur soup in the evening or rice soup in the morning, fortified with fat and onions, sometimes meat, and flavored with pepper and vegetables.

The vegetables depended on the season of the year and the location of the imaret. Additional ingredients — pulses, yogurt, herbs, and spices — might be taken from local suppliers, kitchen gardens or other nearby sources. Watenpaugh, The Image of an Ottoman City: These two dishes were iconic for Ottoman feasts of all kinds. Dane and zerde were on the menu at all of them. It was most regularly repeated at three-month intervals when the janissaries were admitted to the imperial palace, waiting in silence to receive their quarterly pay at an official ceremony. After being paid, they were offered dane and zerde on copper trays laid on the ground.

This spectacle acknowledged the sultan as the provider and the janissaries as his disciplined, aggressive and energetic fighting force. They were as predictable then as are pasta and espresso in Italy, cheese in France or a pint in an English pub in our own day. We are accustomed to think of the imperial palace as the paradigm for household organization among Ottoman officials, so perhaps the same is true regarding the imarets. Zerde was also served frequently in the palace, cooked in the usual way but with the addition of ground hazelnuts and almonds.

This version of zerde may have been a richer and more prestigious version of the usual dish. From a contemporary perspective, the uniformity of meals may seem a monotonous routine for the mosque complex staff, the scholars, students and sufis who ate the same thing day after day. Yet a relatively simple and locally unvarying menu was probably a constant of life for the vast majority of people in the pre-modern world. Marginal variations reflected the change of seasons, and richer fare marked collective festivals and private celebrations.

For everyone, the uniformity reflected a measure of imperial stability and the financial health of the institution at which they were hosted. The capacity of an imaret, any imaret, to serve its clients the minimum expected was a public declaration that things were as they should be. Even at festivals there were no surprises when it came to the food, since specific foods helped to define the festivals themselves.

The familiar dishes of dane and zerde provided another measure that life was continuing undisturbed and that Ottoman power was intact. Despite its empire-wide uniformity, the food at the imarets was unfamiliar to some Ottoman subjects. The vast geographic span of the empire encompassed numerous and only partially overlapping culinary cultures. For example, vakfiyes for imarets in the region of Damascus included explanations of the dishes with phrases like: For the philanthropic endeavors of the Ottomans to be effective and acquire meaning among their subject populations, they needed to resonate.

Another was quality, equally important in Istanbul as in the provinces. Having established a horizon of expectations among their clients, imarets that failed to deliver the usual fare might compromise far more than their own local reputations. Diversity Although the basic daily and festival menus established a uniformity among the imarets, diversity and distinction were also integral features of these kitchens, mirroring the ways in which diversities and distinctions were integral to philanthropic endeavors more generally.

Not only does philanthropy exist because of economic and social diversities, but recipients are assigned differential status, starting from complete exclusion and ranging along continuums of greater and lesser deservedness. In the imarets, these distinctions were reflected in what and how much people were served, where they were served, and the order in which they received food.

The best-documented of the imarets were those that belonged to imperial foundations in major Ottoman cities. Their records describe a range of dishes served to clients whose status varied widely. As in many places, travelers arriving at the Fatih complex in Istanbul were meant to receive honey and bread at the imaret immediately upon their arrival, to revive them after their journey. In Edirne, at the imaret of Bayezid II, the charter mandated that guests be treated according to their status,25 and be received initially with sweets and jams and pickles as part of their welcome.

These two dishes were the Ottoman holiday uniform. Yet while they probably seemed standard to the vast majority of people who ate them, dane and zerde, too, had variants for the privileged. At the circumcision festival, the menus of the three meals that the sultan attended with different groups of officials each included several types of dane, with additions of noodles, herbs, spices or other vegetables e. One of the most notable distinctions between the routine imaret food and the dishes served to special guests or on festivals was the change from soup.

Soup is almost infinitely elastic because water can be added easily to make it serve more people, even at the expense of taste and nutritional value. The stews and pilavs, however, are less mutable in regard to the quantity one can produce from fixed inputs. They are also more 27 A. As far as we know which is actually relatively little given the large number of imarets that existed , there were also imarets in which there was little distinction among the foods consumed by people of different status.

In those places, everyone ate the same soup and bread. Yet there were other kinds of distinctions. The diversity of dining experiences in imarets could be marked not only by what people ate, but also by the size of the portions. This was particularly important among the regular clientele of the imarets where everyone received the same daily meals of soup and bread. Thus, in the Jerusalem imaret of Haseki Sultan, the staff had two loaves of bread and one ladle of soup per meal, with a piece of meat each on Fridays. The guests residing in the rooms had only one loaf of bread and a ladle of soup at each meal, with a piece of meat on Fridays.

University of Minnesota, ], see the translation of the vakfiye in the Appendix. Some foundation deeds, probably drawing on the experiences of foundation managers, provided for wardens or doorkeepers to keep order, admonished to treat people as dictated by their status. Round the dish were rolls of bread and sometimes a piece of honeycomb Typically for ranking guests, he was seated at a table or sofra , apart from the mass of clients — staff, students, teachers, and poor people. However, a further distinction exists in the shape and location of the spaces where meals were served.

The indoor seating clearly implied by the rooms and refectories mentioned above can be compared with the few known miniatures depicting imarets, in which the scene suggests that some people ate outside, within the perimeter of the imaret courtyard or perhaps in the garden of the complex. The illustrations of feasts and banquets such as those in the Surnames emphasize another distinction in the way people were served, and reflect the social expectations regarding the eating habits of different classes.

In virtually every imaret for which a description exists, the service of meals, whether soup or dane, is measured by portion into bowls for individuals or to be shared by two people. However, cooked foods for high-ranking people, like the meal served to Busbecq, arrived at the sofra in a single dish. The diners in these images are shown, each with his own spoon, eating from that one plate. In the act of consuming food, it was assumed that these people would behave with the decorum and self-control required to enable a group of adults to share out of a common dish.

No such assumption existed for the larger groups of employees and students. The scene for them, although not illustrated as far as I have seen, perhaps resembled something closer to the dramatizations of Oliver Twist, with long refectory tables and individual bowls, or people seated on the ground in a wide yard. Arapi and Reha G nay London: Reaktion Press, , 73, fig. This practice was explicitly set down for the imperial palace in the kanunname of Mehmed II. The law code provided that the members of the divan eat in three distinct groups, and that for each group, there was a corresponding rank of lower officials, who would replace their superiors at the dish.

Thus the document itself describes a dozen different feasts, each served separately to a specifically defined group. Images of similar feasts from the Surname-i Humayun of and the Surname-i Vehbi of give a good sense of the way people of different rank might experience such a meal with the notables sitting comfortably in elegant surroundings, attended by servants. Excluded from the public banquets, women might be included in separate feasts organized for them at a different location. After these high officials finished eating, lower-ranking officials replaced them at the same tables and finished what was left over.

As a final distinction among the diners at imarets, one should mention the order in which people ate. This was also specified in some places, spelling out a hierarchy of status and rights to a meal. In more than one imaret, the indigents were listed last, and they were sometimes meant to be served only if food was left over. The basic meals served in imarets may have exceeded the daily consumption levels of some urban residents who did not have the right to eat in them. The fact that access to imarets was restricted and controlled suggests that there were those who made do with even less.

The social range of people who were judged to merit only soup and bread twice a day was not insignificant: The distinction probably lay more in the size of their portions and in how able they were to supplement from other sources the basic diet provided by the imaret. Conclusions The Ottoman imarets offer a rich venue for exploring not only the food itself, but the total dining experience in them, which worked to define and reinforce status distinctions among people in the Ottoman Empire.

At the same time, imaret ideals and realities do not illustrate either the very bottom or the very top of Ottoman culinary hierarchy. The poor probably fared much worse while the wealthy ate far better: Imarets, too, were not uniform in their 41 Singer, Constructing Ottoman Beneficence, The uniformity offered in imarets meant people could largely predict what they would get to eat, when it would be served, and with whom they were likely to eat.

Diversity meant that the status of individual diners could be signaled in various ways, including distinctions of food, portions and service. Local spices and seasonal foods distinguished one place from another, as did the arrangements for eating and service. Minarets announced the mosques as places of worship, refuge and study. The Tower of Justice Adalet Kulesi rose over the imperial divan, a reminder that the sultan was the paramount source of justice in his realms. As Hedda Reindl-Kiel has pointed out, the palace chimneys stood juxtaposed to the Adalet Kulesi as the most prominent vertical monuments in the palace.

Like the aesthetic canon, the culinary canon was linked to Ottoman ideals of justice and the well-being of the Muslim community. At the same time, the existence of the imarets acknowledges the wisdom of the Turkish saying: One person eats one person looks on, from this all hell breaks loose. Food and Shelter in Ottoman Material Culture, ed. Suraiya Faroqhi and Christoph K. Adam Sabra, Poverty and charity in medieval Islam: The Case of Learning Institutions S.

Judaism, Christianity and Islam. These three religions taught that poverty could not be eliminated; giving to the needy was a pious act. All faith-based communities shared basic assumptions and questions during the medieval and early modern periods. The major distinctions among these religions concerned who exactly was worthy of charity, who exactly was obligated to give, and what form of charity was to be given.

Individuals and communities had to decide about the scope of their beneficence. Religious ideology guided the actions of benefactors but so did aspirations for power, prestige and consolidation of religious solidarity. Poverty studies have often focused on the necessity for poor relief but a few of them properly examined the identities and motives of the donors.

It is important not to reduce charity to an activity of the elites but rather to understand what kind of society produced these elites and how they influenced the policies governing philanthropy. In the Ottoman Empire, charity and charitable institutions were oriented towards the scholars and mystics rather than the poor and that learning was used as an instrument for cultural and religious survival. Through an analysis of learning institutions, which were supported by pious endowments, I aim to address how the use of connections between philanthropy and helping the needy favored the elites of the time.

Her book, Charity and Power in Early Modern Italy, is concerned with how changes in the social composition of donors and administrators affected policy towards the poor and with how shifts of motivations for becoming involved in charity affected social composition of those groups for which the relief was intended.

Similarly, I examine the factors which motivated actions of the donors and which influenced the structure, and aims of their giving. Nevertheless, I focus on the effects of religion while Cavallo is chiefly interested in secular motivations for charity. I look at the religious meaning of charity as found in the Islamic traditions, the social and political consequences of almsgiving, and the impact of the institutional form of charity on regarding societies.

The motives and attitudes of the donors and the categorization of the recipients are given a special consideration in the course of the examination. Introduction Influenced by the Turco-Mongol, Arab, and Byzantine practices, the Ottoman philanthropy was partly shaped by the Muslim teachings and traditions. Assistance to the poor is not an altruistic voluntary behavior but profound obligation within Islam.

In an Islamic state, the well-being of the Muslim community as a whole is extremely important. The Ottomans, like other Islamic societies, followed these principles and their charitable acts were mostly motivated by religious commands to do good. Rather than solely relying on zakat a form of obligatory alms-giving and religious tax in Islam; one of the Five Pillars of Islam collection, the Ottomans had charitable institutions funded through waqfs religious endowments to serve as a safety net. Born out of religious ideals of benevolence as mandated in Islam, the Ottoman philanthropic institutions often represented a particular response to a specific need.

From the founding of the Ottoman state in the fourteenth century until the nineteenth century, waqfs had been the chief means of financing the institutions that cared for the poor. The waqfs sustained much voluntary charitable activity of the time and maintained a wide range of social and economic institutions, supporting education, health, welfare, public services, and public works. Religious notions of merit and need were not the mere sources informing the Ottoman philanthropy.

In addition, socioeconomic conditions and patterns of conflict and power were influential in determining where the benevolence should be directed and in which ways. What were the primary motives reinforcing such formal giving? Was it individual piety, social recognition, fiscal advantage, political profit or altruism or some weighted combination of two or more of these motives? To answer these questions, one needs to survey reciprocal gift relationships in a broader historical and political context. This paper focuses upon one sector of services provided by the waqfs that of education.

It looks at the role played by the waqf in the area of education through the study of the nature and operation manner of two kinds of educational institutions, namely madrasa college and zawiya sufi lodge. In this specific example, I inquire whether support for learning and social groups such as the Sufis and the ulama were given preference over alleviation of poverty and provision of welfare services. Identity of the Elites The Ottomans, who came to power at the beginning of the fourteenth century, embodied two imperial heritages, Seljuk and Byzantine Inalcik, Their strong government became one of the well-known features of the empire.

The sultan was the capstone of the system while his service elite was responsible for keeping under control any potential sources of opposition that appeared outside the boundaries of the legitimate power structure. Ottoman society was divided into two major classes. The second included the reaya, comprising all Muslim and non-Muslim subjects who paid taxes but had no part in the government. According to this description, the Ottoman society is ideally divided into two main segments: By contrast, Faroqhi argues that the Ottoman social formation was feudal, showing tax farming, the operation of political patronage and the activity of guilds as evidence.

Rooted in the Islamic tradition, the Ottoman state was controlling economic life and the ruler was personally responsible for the welfare of his subjects. Unlike the Western system of economy, the state gave more support to artisans than merchants and denied corporate personality and independent government to towns. This, in return, hindered the growth of mercantile capital and the development of intermediary corporate citizens with legal standing and rights Sunar, A disproportionate amount of private wealth was directed towards charity rather than toward commercial or mercantile investment.

When the Ottoman administration was first established in Anatolia, all agricultural land passed to the ownership of the state. Then the land was assigned as timars fiefs to the timarli sipahis cavalrymen. The timar-holders were not legal owners of their fiefs. They were entitled to collect taxes in the localities on behalf of the state in return for providing military services and securing the people in their timar Heper, They did not have extensive political-territorial right. They only enjoyed the economic facilities and opportunities provided by the rulers.

The state did not grant autonomous powers to the local lords and the sultans exercised a strict control over them. The reaya were ordered to pay the taxes demanded by bureaucrats as well as by local lords without opposition. The Ottoman sultans positioned themselves as the ultimate protector of the subjects against any local mismanagement. In this manner, the sultans were aiming to gain the loyalty of peasants and to obtain revenues in a consistent manner Karpat,