Mario Albertelli
Mario Albertelli was an Italian cinematographer.[1]
Mario Albertelli | |
---|---|
Born | 22 January 1904 |
Occupation | Cinematographer |
Years active | 1933-1956 |
Selected filmography
- Black Shirt (1933)
- Tomb of the Angels (1937)
- 13 Men and a Gun (1938)
- Ettore Fieramosca (1938)
- The Last Enemy (1938)
- In the Country Fell a Star (1939)
- Two Million for a Smile (1939)
- Who Are You? (1939)
- Maddalena, Zero for Conduct (1940)
- Teresa Venerdì (1941)
- Idyll in Budapest (1941)
- Marco Visconti (1941)
- Rossini (1942)
- Fedora (1942)
- The Devil's Gondola (1946)
- Buried Alive (1949)
- Vertigine d'amore (1949)
- How I Discovered America (1949)
- 47 morto che parla (1950)
- L'inafferrabile 12 (1950)
- Figaro Here, Figaro There (1950)
- Toto Looks for a Wife (1950)
- Bluebeard's Six Wives (1950)
- Arrivano i nostri (1951)
- The Ungrateful Heart (1951)
- The Black Captain (1951)
- My Heart Sings (1951)
- Il microfono è vostro (1951)
- At Sword's Edge (1952)
- The Secret of Three Points (1952)
- Five Paupers in an Automobile (1952)
- Lulu (1953)
- I Chose Love (1953)
- Frine, Courtesan of Orient (1953)
- Nero and the Burning of Rome (1953)
- Papà Pacifico (1954)
- Tragic Ballad (1954)
- Napoli piange e ride (1954)
- Peppino e la vecchia signora (1954)
- New Moon (1955)
- Toto, Peppino and the Outlaws (1956)
- Toto, Peppino, and the Hussy (1956)
gollark: The main problem I have with it is that it conflates readability (you can see what the code is doing at a low level) with comprehensibility (you know what and why it's doing at a higher one).
gollark: Are you being serious?
gollark: ~~Go is Not Good~~
gollark: Monoids.
gollark: ```Within the grove the mist thickened to a warm and bitter-tasting fog; from somewhere up ahead came the sound of bubbling water. The trees parted, and Djishin found himself in a clearing where four nuns in white robes sat contemplating a monolith of glistening black basalt. On its face were inscriptions such as the monk had never seen: (>>=) :: m a -> (a -> m b) -> m b return :: a -> m a“What is this stone, great ladies?” asked Djishin.“We call it the Monad,” said the first nun.“Why do you venerate it so?” asked Djishin.“Through it, we may touch the impure without being corrupted,” said the second nun. “We can fell a Maybe-tree with a Maybe-ax and always hear a Maybe-sound when it crashes down—even if the sound is Nothing at all, when the ax isn’t real or there’s no tree to fall.”```
References
- Mitchell p.189
Bibliography
- Mitchell, Charles P. The Great Composers Portrayed on Film, 1913 through 2002. McFarland, 2004.
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