Editing Cinema of Italy (section)

===1980s===
[[File:Ennio Morricone Cannes 2007.jpg|thumb|[[Ennio Morricone]] has composed over 500 scores for cinema and television since 1946.<ref>{{cite web|url=http://www.elleppi.it/ennio-morricone-compie-novantanni-cinque-cose-che-non-sapete-sul-genio-italiano-della-colonna-sonora/|title=Ennio Morricone compie novant'anni, cinque cose che non sapete sul genio italiano della colonna sonora|access-date=14 January 2022|language=it}}</ref> He is widely considered one of the most prolific and greatest [[List of film score composers|film composers]] of all time.<ref>{{cite news|url=https://www.nytimes.com/2020/07/08/arts/music/ennio-morricone-john-zorn.html|title=Ennio Morricone Was More Than Just a Great Film Composer|work=[[The New York Times]]|date=8 July 2020 |access-date=11 December 2022|last1=Zorn |first1=John }}</ref><ref>{{cite web|url=https://edition.cnn.com/style/article/ennio-morricone-prolific-italian-composer-best-music-intl-scli/index.html|title=The film scores of Ennio Morricone: Five tracks you need to hear by the late, great composer|date=6 July 2020 |publisher=CNN Style|access-date=11 December 2022}}</ref>]]

The 1980s was a period of decline for Italian filmmaking. In 1985, only 80 films were produced (the least since the postwar period)<ref name="vito" >{{cite book|first=Vito |last=Zagarrio|title=Storia del cinema italiano 1977/1985|publisher=Marsilio|year=2005|page=329|language=it|isbn=978-8831785372}}</ref> and the total number of audience decreased from 525 million in 1970 to 123&nbsp;million.<ref>{{cite book|first=Vito |last=Zagarrio|title=Storia del cinema italiano 1977/1985|publisher=Marsilio|year=2005|page=348|language=it|isbn=978-8831785372}}</ref> It is a physiological process that invests, in the same period as other countries, with a great cinematographic tradition such as Japan, United Kingdom and France. The era of producers ended; [[Carlo Ponti]] and [[Dino De Laurentiis]] work abroad, [[Goffredo Lombardo]] and [[Franco Cristaldi]] were no longer key figures. The crisis affects the Italian [[Film genre|genre cinema]] above all, which, by virtue of the success of [[commercial television]], is deprived of the vast majority of its audience.<ref>{{cite web|url=http://www.paperstreet.it/italia-80-quando-la-televisione-provo-a-mangiarsi-il-cinema/|title=Italia 80|date=4 October 2012|access-date=9 January 2022|language=it}}</ref> As a result, cinemas began showing mainly [[Hollywood (film industry)|Hollywood]] films, which steadily took over, while many other cinemas closed.

Among the major artistic films of this era were ''[[La città delle donne]]'', ''[[E la nave va]]'', ''[[Ginger and Fred]]'' by [[Federico Fellini|Fellini]], ''[[L'albero degli zoccoli]]'' by [[Ermanno Olmi]] (winner of the [[Palme d'Or]] at the [[Cannes Film Festival]]), ''[[La notte di San Lorenzo]]'' by [[Paolo and Vittorio Taviani]], Antonioni's ''Identificazione di una donna'', and ''[[Bianca (1984 film)|Bianca]]'' and ''[[La messa è finita]]'' by [[Nanni Moretti]]. Although not entirely Italian, [[Bernardo Bertolucci]]'s ''[[The Last Emperor]]'', winner of 9 Oscars including Best Picture and Best Director, and ''[[Once Upon a Time in America]]'' of Sergio Leone came out of this period also.

''[[Non ci resta che piangere]]'', directed by and starring both [[Roberto Benigni]] and [[Massimo Troisi]], is a cult movie in Italy.

[[Carlo Verdone]], actor, screenwriter and film director, is best known for his comedic roles in Italian classics, which he also wrote and directed. His career was jumpstarted by his first three successes, ''[[Fun Is Beautiful|Un sacco bello]]'' (1980), ''[[Bianco, rosso e Verdone]]'' (1981) and ''[[Talcum Powder (film)|Borotalco]]'' (1982). Since the 1990s, he has been introducing more serious subjects in his work, linked to the excesses of society and the individual's hardships in confronting it; some examples are ''[[Maledetto il giorno che t'ho incontrato|Maledetto il giorno che t'ho incontrata]]'' (1992), ''[[My Best Enemy (2006 film)|Il mio miglior nemico]]'' (2006) and ''[[Me, Them and Lara|Io, loro e Lara]]'' (2010).

[[Francesco Nuti]] began his professional career as an actor in the late 1970s, when he formed the cabaret group ''Giancattivi'' together with [[Alessandro Benvenuti]] and [[Athina Cenci]]. The group took part in the TV shows ''Black Out'' and ''Non Stop'' for [[RAI TV]], and shot their first feature film, ''[[West of Paperino]]'' (1981), written and directed by Benvenuti. The following year Nuti abandoned the trio and began a solo career with three movies directed by [[Maurizio Ponzi]]: ''[[What a Ghostly Silence There Is Tonight]]'' (1982), ''[[The Pool Hustlers]]'' (1982) and ''[[Son contento]]'' (1983). Starting in 1985, he began to direct his movies, scoring an immediate success with the films ''[[Casablanca, Casablanca]] '' and '' [[All the Fault of Paradise]]'' (1985), ''[[Stregati]]'' (1987), ''[[Caruso Pascoski, Son of a Pole]]'' (1988), ''[[Willy Signori e vengo da lontano]]'' (1990) and ''[[Women in Skirts]]'' (1991). The 1990s were however a period of decline for the Tuscan director, with poorly successful movies such as ''[[OcchioPinocchio]]'' (1994), ''[[Mr. Fifteen Balls]]'' (1998), ''[[Io amo Andrea]]'' (2000) and ''[[Caruso, Zero for Conduct]]'' (2001).

The [[cinepanettoni]] (singular: ''cinepanettone'') are a series of [[Farce|farcical]] [[Comedy film|comedy]] films, one or two of which are scheduled for release annually in Italy during the Christmas period. The films were originally produced by [[Aurelio De Laurentiis]]' [[Filmauro]] studio.<ref name=yokel>{{cite magazine|magazine=[[Variety (magazine)|Variety]]|date=7 January 2002|title=Local yokels deliver a boffo B.O holiday gift|last=Rooney|first=David|page=30}}</ref> These films are usually focused on the holidays of stereotypical Italians: bungling, wealthy and presumptuous members of the middle class who visit famous, glamorous or exotic places.