Gian Giacomo Stiffoni

Gian Giacomo Stiffoni

Licenciado en letras en la Universidad de Ca’ Foscari de Venecia, ha sido profesor de Historia de la ópera y Crítica Musical en la Universidad de La Rioja. Especializado en dramaturgia musical e historia de la ópera en los siglos XVIII y XIX, así como sobre la música en el cine. Ha sido crítico de cine y crítico musical para Audio Clásica y Auditorium. Además de como musicólogo trabaja también como fotógrafo, en proyectos personales o bajo encargo relacionados con la fotografía de paisaje urbano. Desde 2009 hasta 2013 ha sido asistente del fotógrafo Gabriele Basilico.

Author's Articles

“The Voice of Hind Rajab”, the Horror of Genocide in Gaza

“The Voice of Hind Rajab”, the Horror of Genocide in Gaza

With The Voice of Hind Rajab, Kaouther Ben Hania places cinema at the heart of contemporary horror: the genocide in Gaza.

The Essence of “Silent Friend” and “Elisa”, and the Emphasis in “Duse”

The Essence of “Silent Friend” and “Elisa”, and the Emphasis in “Duse”

One of the most compelling entries in the final section of the 82nd Venice Film Festival was undoubtedly Silent Friend, by Ildikó Enyedi.

The Depth of ‘L’étranger’ and the Unevenness of ‘Father Mother Sister Brother’ and ‘Dead Man’s Wire’

The Depth of ‘L’étranger’ and the Unevenness of ‘Father Mother Sister Brother’ and ‘Dead Man’s Wire’

“L’étranger”, by François Ozon, has the flavour of an inevitable encounter: Albert Camus and the dialogue with a philosophical, existentialist and political text.

“No Other Choice”, The Fury and Tenderness of Park Chan-wook

“No Other Choice”, The Fury and Tenderness of Park Chan-wook

“No Other Choice” is a territory of uncertainty, where the grotesque and the moving coexist, and the fragility of life is revealed in all its rawness.

The Despair of “Orphan” and the Eccentricities of “Bugonia”

The Despair of “Orphan” and the Eccentricities of “Bugonia”

“Orphan” is a coming-of-age story marked by trauma, while “Bugonia” stands out as a fierce and surprisingly eccentric work.

“La grazia”: Sorrentino and the Intimacy of Power

“La grazia”: Sorrentino and the Intimacy of Power

In ‘La grazia’, Sorrentino offers a visual and moral experience with ups and downs, contemplative and rigorous in tone, without his usual sensationalism.

La Fenice Remembers the Anniversaries of Nono and Schönberg

La Fenice Remembers the Anniversaries of Nono and Schönberg

To celebrate the centenary of Luigi Nono and the 150th anniversary of Schönberg’s birth, Teatro La Fenice presented La fabbrica illuminata and Erwartung.

“Disclaimer”, Cuarón’s Exemplary Series, Amelio’s War and “The Order”

“Disclaimer”, Cuarón’s Exemplary Series, Amelio’s War and “The Order”

The 81st Venice Film Festival premiered several series, among which Alfonso Cuarón’s “Disclaimer” was the highlight in the first days.

“Maria”, a Captivating and Intense Portrait of Callas.

“Maria”, a Captivating and Intense Portrait of Callas.

“Maria” completes Larraín’s trilogy, dedicated to great female figures of the 20th century, which began with “Jackie” and “Spencer”.

Tim Burton Recaptures His Touch With “Beetlejuice Beetlejuice”

Tim Burton Recaptures His Touch With “Beetlejuice Beetlejuice”

“Beetlejuice Beetlejuice” opened the Venice Film Festival, with an outstanding cast and an inspired Tim Barton, living up to 1988’s ”Beetlejuice”

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