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Il Consolato Generale d’Italia in New York ha indetto una procedura di selezione per l’assunzione di un impiegato a contratto da adibire ai servizi di Assistente Amministrativo nel settore consolare.

L’avviso di assunzione ed il facsimile della domanda di ammissione alle prove selettive sono disponibili sul sito web del Consolato Generale d’Italia: www.consnewyork.esteri.it
 

Le domande di ammissione alle prove selettive, da redigersi secondo il suddetto facsimile da scaricare direttaemtne dal sito del Consolato Generale, dovranno essere presentate entro le ore 24:00 del giorno 10  novembre 2014.

Una Manhattan all’insegna della FIAT quella del Columbus day.

Sia pure con modalità diverse. Infatti mentre alla borsa sbarcava il titolo Fiat Chrysler e John Elkann lo  definiva "un momento storico", nella tradizionale parata del Columbus Day sulla Quinta Avenue sfilava una FIAT davvero speciale.

La piccola Cinquecento del network i-Italy, colorata con il tricolore italiano dal grande designer Massimo Vignelli, di recente scomparso.

Spuntava dal tettuccio decappottabile il console generale di New York, Natalia Quintavalle che ha voluto partecipare alla parata in questo modo, circondata da altri funzionari del Consolato, dell’ICE, dell’ENIT e da una delegazione di Expo Milano 2015 giunta nella Grande Mela con la propria mascotte Foody, disegnata da Disney Italia.

Dalla 44a alla 68a strada, una sfilata tra tanti saluti e molta curiosità.

Tantissimi i selfie dei passanti che hanno apprezzato i colori della bandiera italiana sulla macchina italiana.

La 500 tri-colorata di i-Italy ha fatto da portabandiera, potente comunicatrice di italianità nella città più italiana degli Stati Uniti.

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“My name is Fred Kudjo Kuwornu, I'm an African-Italian director, producer, activist and public speaker of Ghanaian descent (my dad is from Ghana and my mom is from Italy). I work in both New York and Rome. Tonight at 6.30 come see me in Harlem at the Maysles Cinema, 343 Lenox Avenue (subway ,2,3,4,5) for a quick introduction of my latest project titled "Blaxploitalian (Cent'anni di Afrostorie nel cinema italiano, One hundred years of Afro-stories in Italian cinema), a documentary I am trying to put together.”

With his new film Fred is beginning a new cultural campaign towards the ways in which Italy  represents itself in film, television, and in a much broader sense, mass media. He believes strongly that this multi-cultural Italy must be depicted much more-- even by writers and actors, who are the sons and daughters of immigrants and ethnic minorities. Here Fred, in his own words, tells us about the project.

“Blaxploitalian Cent’anni di Afrostorie nel cinema italiano,” was inspired by the book L’Africa in Italia edited by Leonardo De Franceschi. "Blaxploitalian" is a documentary that follows the different waves of pioneers of African descent since 1914, the year that the movie Salambo, starring Domenico Gaido, the first black actor, came out. The documentary covers more than a century, it starts with silent and colonial cinema to get to contemporary cinema, and it tells about the contribution of African American actors such as John Kitzmiller, Harold Bradley and Fred Williamson, about African italian actors such as Zeudi Araya, Ines Pellegrini, Iris Peynado, Fiona May, Denny Mendéz, Letizia Sedrick, Bobby Rhodes, Livio Beshir, Salvatore Marino, Jonis Bascir, Germano Gentile, Hedy Krissane and more. These names represent only the tip of the iceberg: there are indeed hundreds of actors who have taken part in Neorealistic films, in historical and mythological movies, inthe popular commedia anni ’60 (comedies that came out in the 60s), in the police flicks of the 70's, in all other sorts of comedies (including commedia sexy all’italiana, sex comedy Italian style), or who have become part of the collective Italian memory for their TV appearances (among them we find Lola Falana, Rocky Roberts, Sammy Barbot and more).”

“The idea comes from my wish to produce a series of documentaries that are testimony of the African contribution to Italian society; that includes the historical benefaction of the African soldiers who fought in Italy (a story I told in my documentary titled "Inside Buffalo") and the current affluence of new generations (a situation that I exposed in my "18 IUS SOLI." My cinematic journey continues with the exploration of their influence in the world of media, to continue with sport and a project focused only on affluent women of African descent.”

“I cannot mention too many names, are there are so many influential actors. One that always comes to mind is John Kitmiller, an African American actor who worked in more than forty Italian films. He arrived in Italy during the Second World War and then decided to stay for many years to come. Another great African American actor is Fred Williamson, he was very famous in the USA because he was, back in the 70s) a big star of Blaxploitation genre. In Italy he produced more than ten films, mostly of the apocalyptic and crime genres for directors of the likes of Enzo Castellari. Then there are famous Italian actors, such as Zeudi Araya. A beautiful Eritrean-Italian actress and producer, Araya was active mostly in the seventies.”
“There are plenty of stereotypes in cinema. In Italy, if you are of African descent you'll end up playing the Nigerian prostitute, the windshield washer,  the drug dealer or the illegal immigrant. This can be applied to actors of Asian and South American descent. But I can say this happens in the US as well, where Hispanics, regardless of their North American citizenship and birth, often portray immigrants who speak broken English or prostitutes. With Blaxploitalian I want to launch a universal campaign: MORE DIVERSITY ON EU SCREEN is a European social campaign, recently joined by English actor Idris Elba, that promotes a major representation of ethnic minorities on screen.”

“In order to complete the production of the documentary, the crew and Iwill need to travel between Italy, the rest of the Europe, and the United States, to interview actors, directors, and critics, who have been selected as witnesses and conveyers of this hidden history of Italian Cinema. The collection of funds would be fundamental in covering the costs of renting equipment, audio/video production and realization of a final cut, in order to participate at various film festivals. The main goal is to have the documentary ready for next January 22nd, when the Sundance Film Festival begins. We have launched a crowdfunding campaign.

Anybody, anywhere in the world can contribute with a small donation, $10 is a good start, and by suggesting to their friends to do it as well. To do so people can go to this site http://igg.me/at/blaxploitalian.com. Last but not least don't forget to follow our facebook page. Whoever donates to the production by way of Indiegogo.com can receive, as a gift, original items such as; Posters, Autographed postcards by the stars of Italian Cinema, T-Shirts, DVDs, Books, Private Screenings, and Premiere Screenings, or downloads of rough cuts of the documentary.”





Moderated by Elizabeth Paton, US Fashion and Luxury Correspondent for the Financial Times, the program brings together an influential circle of experts, including David Yurman, designer and CEO of the David Yurman jewelry brand and company; Alberto Milani, CEO of Buccelatti in the US; and Enrico Libani, the US co-founder and CEO of Cesare Attolini, the exclusive Neapolitan menswear brand that opened a Madison Avenue flagship in 2012.

They will be joined by professors of sociology, philosophy, and business from Columbia University, NYU, and Milano-Bicocca Univeristy, as well as by the authors of the just published Real Luxury: How Luxury Brands Can Create Value for the Long Term (Palgrave Macmillan).

“The luxury sector has been an important arena for the preservation of traditional skills, as well as for technological advances since the middle ages,” says Glenn Adamson, the Museum of Arts and Design’s Director. “The history of luxury is intertwined with many other subjects such as the early development of mass production; the refinement of electricity and domestic appliances; the expansion of rail, car and air travel; and cross-disciplinary experimentation in contemporary fine art.”

Both celebrated and controversial throughout history, luxury goods have simultaneously acted as personal keepsakes, cultural artifacts collected by museums, and symbols of privilege. Often examples of the highest skill and craftsmanship possible, these items have supported the development of new possibilities, but also raise questions of society's attitude towards success, wealth, leadership and progress. The luxury business has been transformed by two decades of rapid growth, and by the technological change, globalization and economic winds that have swept across society. So what does luxury – that most alluring and emotional of product categories – look like today? How are the public’s expectations and understanding of it changing? How are luxury brands responding?

"The concept of luxury depends on context," says Riccardo Viale, Chairman of La Fondazione NY, which supports cultural exchange between Italy and the US. "As societies in the West become more reflective and focus more on ethics, luxury means timelessness, artisanal quality and heritage as well as social and environmental sustainability."

Indeed, many forces are putting pressure on luxury to find new forms of expression and value. In luxury’s traditional markets, notably Europe, the US and Japan, people are more aware of how the pursuit of prosperity has actually eroded the feeling of wellbeing. Meanwhile, in newer markets, like China, customers are demanding luxury that offers meaning beyond the logo.

Whether it chooses to or not, luxury plays an important role as an embodiment of what people consider worth striving towards, which is both evolving and fragmenting as people increasingly pursue their own definitions of success. This undermines luxury brands’ ability to hold themselves up as a universal target of aspiration. And it means looking beyond business and marketing practice to understand the sociological context within which luxury must maintain its relevance.

MAD and La Fondazione NY are in a unique position to explore the present and future of luxury. MAD champions contemporary artists, designers and artisans, and provides an international platform for practitioners who are influencing the direction of cultural production and driving 21st-century innovation. Meanwhile, La Fondazione NY is uniquely placed at the intersection of important influences on luxury, with Italy being home to both historic and contemporary luxury houses and the birthplace of the Slow Movement, which promotes the artisanal culture and vision endemic to luxury.

“Luxury in Today’s Society will certainly become a reference point,” says Adamson. “While European scholars have made great strides in the analysis of luxury recently, this will be the first conference here in the USA to address the present and future of luxury crafts, from both professional and academic perspectives. At the event, we expect both insiders to the sector and respected outsiders to get beyond the surface glitter of luxury and mine its depths.”