{"id":36777,"date":"2019-04-03T08:42:39","date_gmt":"2019-04-03T08:42:39","guid":{"rendered":"https:\/\/cinema.video\/?p=36777"},"modified":"2026-04-10T03:43:38","modified_gmt":"2026-04-10T01:43:38","slug":"italy-for-movies-cinema-for-cultural-assets","status":"publish","type":"post","link":"https:\/\/cinema.video\/it\/italy-for-movies-cinema-for-cultural-assets","title":{"rendered":"ITALY FOR MOVIES Cinema for Cultural Assets"},"content":{"rendered":"\n

Read  also:<\/strong><\/em><\/p>\n\n\n\n

CULTURAL LOCATIONS\/Good Practices<\/a><\/strong><\/p>\n\n\n\n

\"\"
A scene from Paolo Sorrentino’s THE GREAT BEAUTY<\/figcaption><\/figure><\/div>\n\n\n\n

One of the most evocative sequences of \u201cThe Great Beauty\u201d (2013) by Paolo Sorrentino <\/strong>takes us on a nighttime tour of some of the most beautiful buildings in Rome<\/strong>including the Capitoline Museums <\/strong>inside Palazzo Nuovo<\/strong>, leading us to the Aventino, to the famous keyhole from which it is possible to see the Dome of St. Peter\u2019s Cathedral <\/strong>in the gardens of Villa del Priorato dei Cavalieri di Malta, continuing to Palazzo Barberini <\/strong>where we can admire Raphael\u2019s La Fornarina <\/strong>illuminated by the faint light of a candelabra then on to the courtyard of Palazzo Spada <\/strong>where we are tricked by the \u201cfalse perspective\u201d of the 8 meter long tunnel (although it appears much longer to us), coming to an end at dawn in the garden of Villa Medici<\/strong>. <\/p>\n\n\n\n

In \u201cNaples in Veils\u201d 2017), Ferzan Ozpetek <\/strong>gazes at the most esoteric component of the city, amidst rituals and traditions which often seem obscure to those who approach them as a foreigner.
Many beauties can be glimpsed behind the actions of the protagonists: these include the so-called \u201csecret cabinet\u201d room in the Archaeological Museum of Naples <\/strong>which is characterized by the presence of works of an erotic nature or the Chapel San Severo <\/strong>which contains the Veiled Christ<\/strong>, a masterpiece of 18th century realism by Giuseppe Sanmartino<\/strong>. <\/p>\n\n\n\n

\u201cInferno\u201d (2016), Ron Howard\u2019s movie based on the novel by Dan Brown, is set in Florence<\/strong>. Professor Robert Langdon moves easily around the Boboli Gardens <\/strong>inhabited by statues of Roman divinities.
He follows a secret passage that gives him access to the Vasari Corridor<\/strong>through the Uffizi Gallery <\/strong>to the Salone de\u2019 Cinquecento <\/strong>in Palazzo Vecchio<\/strong>. The solution to the enigma he has to solve is contained withinVasari<\/strong>\u2019s painting of the Battle of Marciano della Chiana<\/strong>.<\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

But where Naples, Rome and Florence as described here reveal themselves for what they are, very often works of art conceal themselves in places where they do not belong for the purpose of enhancing the setting.
The filming of the second season of the Rai co-production \u201cMedici\u201d involved various views and buildings in Tuscany, Lazio and Lombardy.
It is, however, curious that, in order to decorate the various ambients, paintings have been used that are located very far away from the rooms
used for filming: behind the infirm Piero de\u2019 Medici we see the Fresco of the Month of March <\/strong>painted by Francesco del Cossa <\/strong>which is preserved in the Hall of the Months <\/strong>in Palazzo Schifanoia<\/strong>, Ferrara<\/strong>; in the bedroom of Lorenzo the Magnificent we find the Fresco of the Six Ancient Sages<\/strong>, the masterpiece by Perugino <\/strong>which embellishes the Collegio del Cambio <\/strong>in Perugia<\/strong>; the reception room of Palazzo dei Vespucci where Botticelli meets his Venus is decorated with the central panel of the Triptych of San Vincenzo <\/strong>by the Portuguese painter Nu\u00f1o Gon\u00e7alves <\/strong>preserved at the Museu Nacional de Arte Antiga in Lisbon<\/strong>.
While cities are a casket for works of art for the use and consumption of cinema and TV, often cinema which is placed at the service of cultural assets brings works that are not within everyone\u2019s reach to a wider public.<\/p>\n\n\n\n

www.italyformovies.it<\/a><\/em><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Read  also: CULTURAL LOCATIONS\/Good Practices One of the most evocative sequences of \u201cThe Great Beauty\u201d (2013) by Paolo Sorrentino takes us on a nighttime tour of some of the most beautiful buildings in Romeincluding the Capitoline Museums inside Palazzo Nuovo, leading us to the Aventino, to the famous keyhole from which it is possible to see the Dome of St. Peter\u2019s Cathedral in the […]<\/p>\n","protected":false},"author":101028,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"googlesitekit_rrm_CAow3e7fCw:productID":"","_wpcom_ai_launchpad_first_post":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[1],"tags":[84],"class_list":["post-36777","post","type-post","status-publish","format-standard","category-senza-categoria","tag-focus-on-italy"],"yoast_head":"\nITALY FOR MOVIES Cinema for Cultural Assets - Cinema & Video International<\/title>\n<meta name=\"description\" content=\"ITALY FOR MOVIES Cinema for Cultural Assets \u2013 italy for movies cinema for cultural. 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