{"id":50348,"date":"2019-11-30T14:52:48","date_gmt":"2020-05-29T08:50:09","guid":{"rendered":"https:\/\/www.fondazionecsc.it\/prodotto\/guardie-e-ladri-2\/"},"modified":"2020-07-28T13:03:31","modified_gmt":"2020-07-28T11:03:31","slug":"guardie-e-ladri-2","status":"publish","type":"product","link":"https:\/\/www.fondazionecsc.it\/en\/prodotto\/guardie-e-ladri-2\/","title":{"rendered":"Guardie e ladri"},"content":{"rendered":"<p>Two directors, Steno and Monicelli, two great showmen, Tot\u00f2 and Fabrizi, two producers, Ponti and De Laurentis. Two production projects. And two versions of the movie: on one side, the film we all know, which was released in cinemas at the time, on the other side, the version which has been preserved in the archives of the Cineteca Nazionale, whose differences highlight the grotesque, months-long clash between the production and the Direzione Generale dello Spettacolo (General Directorate of Entertainment). Using the discovery of this version as a starting point, Alberto Anile analyses the creative, productive and censorious development of a major masterpiece of Italian cinematography. He examines Guardie e ladri from the original idea up to the philological juxtaposition of the two versions, uncovering small and great behind-the-scenes anecdotes of a \u201ctwofold\u201d opus which blends humour and bitterness, rebelliousness and detachment.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Two directors, Steno and Monicelli, two great showmen, Tot\u00f2 and Fabrizi, two producers, Ponti and De Laurentis. Two production projects. And two versions of the movie: on one side, the film we all know, which was released in cinemas at the time, on the other side, the version which has been preserved in the archives of the Cineteca Nazionale, whose differences highlight the grotesque, months-long clash between the production and the Direzione Generale dello Spettacolo (General Directorate of Entertainment). Using the discovery of this version as a starting point, Alberto Anile analyses the creative, productive and censorious development of a major masterpiece of Italian cinematography. He examines Guardie e ladri from the original idea up to the philological juxtaposition of the two versions, uncovering small and great behind-the-scenes anecdotes of a \u201ctwofold\u201d opus which blends humour and bitterness, rebelliousness and detachment.<\/p>\n","protected":false},"featured_media":34842,"template":"","meta":{"_acf_changed":false},"product_brand":[],"product_cat":[169],"product_tag":[],"class_list":{"0":"post-50348","1":"product","2":"type-product","3":"status-publish","4":"has-post-thumbnail","6":"product_cat-senza-categoria-en","8":"first","9":"instock","10":"taxable","11":"shipping-taxable","12":"purchasable","13":"product-type-simple"},"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.9 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Guardie e ladri - Centro Sperimentale di Cinematografia<\/title>\n<meta name=\"description\" content=\"Two directors, Steno and Monicelli, two great showmen, Tot\u00f2 and Fabrizi, two producers, Ponti and De Laurentis. Two production projects. And two versions of the movie: on one side, the film we all know, which was released in cinemas at the time, on the other side, the version which has been preserved in the archives of the Cineteca Nazionale, whose differences highlight the grotesque, months-long clash between the production and the Direzione Generale dello Spettacolo (General Directorate of Entertainment). Using the discovery of this version as a starting point, Alberto Anile analyses the creative, productive and censorious development of a major masterpiece of Italian cinematography. He examines Guardie e ladri from the original idea up to the philological juxtaposition of the two versions, uncovering small and great behind-the-scenes anecdotes of a \u201ctwofold\u201d opus which blends humour and bitterness, rebelliousness and detachment.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.fondazionecsc.it\/en\/prodotto\/guardie-e-ladri-2\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Guardie e ladri - Centro Sperimentale di Cinematografia\" \/>\n<meta property=\"og:description\" content=\"Two directors, Steno and Monicelli, two great showmen, Tot\u00f2 and Fabrizi, two producers, Ponti and De Laurentis. Two production projects. And two versions of the movie: on one side, the film we all know, which was released in cinemas at the time, on the other side, the version which has been preserved in the archives of the Cineteca Nazionale, whose differences highlight the grotesque, months-long clash between the production and the Direzione Generale dello Spettacolo (General Directorate of Entertainment). Using the discovery of this version as a starting point, Alberto Anile analyses the creative, productive and censorious development of a major masterpiece of Italian cinematography. He examines Guardie e ladri from the original idea up to the philological juxtaposition of the two versions, uncovering small and great behind-the-scenes anecdotes of a \u201ctwofold\u201d opus which blends humour and bitterness, rebelliousness and detachment.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.fondazionecsc.it\/en\/prodotto\/guardie-e-ladri-2\/\" \/>\n<meta property=\"og:site_name\" content=\"Centro Sperimentale di Cinematografia\" \/>\n<meta property=\"article:modified_time\" content=\"2020-07-28T11:03:31+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.fondazionecsc.it\/wp-content\/uploads\/2019\/11\/10589_Copertina_Guardie_e_ladri-729x1024.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"729\" \/>\n\t<meta property=\"og:image:height\" content=\"1024\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"1 minute\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.fondazionecsc.it\\\/en\\\/prodotto\\\/guardie-e-ladri-2\\\/\",\"url\":\"https:\\\/\\\/www.fondazionecsc.it\\\/en\\\/prodotto\\\/guardie-e-ladri-2\\\/\",\"name\":\"Guardie e ladri - Centro Sperimentale di Cinematografia\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/www.fondazionecsc.it\\\/en\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/www.fondazionecsc.it\\\/en\\\/prodotto\\\/guardie-e-ladri-2\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/www.fondazionecsc.it\\\/en\\\/prodotto\\\/guardie-e-ladri-2\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/www.fondazionecsc.it\\\/wp-content\\\/uploads\\\/2019\\\/11\\\/10589_Copertina_Guardie_e_ladri.jpg\",\"datePublished\":\"2020-05-29T08:50:09+00:00\",\"dateModified\":\"2020-07-28T11:03:31+00:00\",\"description\":\"Two directors, Steno and Monicelli, two great showmen, Tot\u00f2 and Fabrizi, two producers, Ponti and De Laurentis. 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