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  1. Carmine Gallone (10 September 1885 [1] – 11 March 1973) was an early Italian film director, screenwriter, and film producer, who was also controversial for his works of pro-Fascist propaganda and historical revisionism. Considered one of Italian cinema 's leading early directors, he directed over 120 films in his fifty-year career between ...

  2. Carmine Gallone est un réalisateur italien né le 10 septembre 1885 1 à Taggia dans la province d'Imperia ( Ligurie) et mort le 11 mars 1973 à Frascati . Tout au long de sa carrière de près de cinquante ans et 124 films, il a abordé tous les genres, avec une préférence pour les films musicaux et les reconstitutions historiques.

  3. Carmine Gallone was an Italian director, writer and producer of melodramas and costume epics. He was known for The Life of Giuseppe Verdi, Odessa in Flames and Scipione l'africano, among others.

    • January 1, 1
    • Taggia, Liguria, Italy
    • January 1, 1
    • Frascati, Lazio, Italy
  4. Carmine Gallone (10 September 1885 – 11 March 1973) was an early Italian film director, screenwriter, and film producer, who was also controversial for his works of pro-Fascist propaganda and historical revisionism. Considered one of Italian cinema 's leading early directors, he directed over 120 films in his fifty-year career between 1913 ...

  5. Mar 14, 1973 · Carmine Gallone began his career in 1914 with the film “The Naked Woman,” starring Lyda Borelli, one of the silent screen's sex symbols. And before his career closed in 1962, he had drawn ...

  6. Giuseppe Verdi (Carmine Gallone, 1938) Giuseppe Verdi was also released as The Life of Verdi for the benefit of filmgoers who had trouble grasping the obvious. Fosco Giachetti stars as the title character, aging nearly 30 years in the course of the film.

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  8. Feb 28, 2024 · This chapter examines the ideological potency of the Second Punic War for modern Italian imperialism by analysing Carmine Gallone’s 1937 film Scipione l’Africano. The chapter begins by outlining how the figure of Scipio has been appropriated in postclassical discourses to stand in for idealized constructions of masculinities.

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