The Wright brothers always presented a unified image to the public, sharing equally in the credit for their invention. Biographers note that Wilbur took the initiative in 1899–1900, writing of "my" machine and "my" plans before Orville became deeply involved when the first person singular became the plural "we" and "our". Author James Tobin asserts, "it is impossible to imagine Orville, bright as he was, supplying the driving force that started their work and kept it going from the back room of a store in Ohio to conferences with capitalists, presidents, and kings. Will did that. He was the leader, from the beginning to the end." 
Informazioni circa la manifestazione in seno alla quale, con la quota d’iscrizione di 30 kune, si terrà la gara di nuoto qui. Possibilità di alloggio di 1 o 3 notti dal 22 al . Il pacchetto include una cena di gala per sabato e la partecipazione alle altre attività. Per l’iscrizione alle attività/giochi nonché per la prenotazione dell’alloggio nei bungalow x 4-6 persone (NB: Il numero di bungalow e’ limitato) cliccare: qui
Ulteriori informazioni sul campeggio: qui .
Risultati: 3000 m, 1500 m , 750m
Italy, 1954, 35mm, 123m; Italian and German with English subtitles
Set amidst Italy’s struggle for unification, Visconti’s operatic melodrama is a key link between the neorealist grit of his early work and the increasingly grand-scale historical spectacles to come. The Third Man’s Alida Valli plays a tremulous 19th-century Venetian countess torn between loyalty to her country and a dissolute Austrian officer (Hollywood beauty Farley Granger). As much an aesthete as a political radical, Visconti luxuriates in the aristocratic period trappings—a Technicolor feast of sumptuous gold, lavender, scarlet, and emerald jewel tones—while casting a jaundiced eye on Italian history, class, and nationalism. 35mm print from Istituto Luce Cinecittà. Tuesday, June 12, 6:30pm
The Stranger / Lo straniero
Italy/France/Algeria, 1967, 35mm, 104m; French and Italian with English subtitles
Visconti brilliantly translates Albert Camus’s landmark work of existential humanism to the screen in this shattering adaptation. Marcello Mastroianni is (perhaps unexpectedly) perfectly cast as the alienated atheist Meursault, who, due to a series of seemingly random events, shoots an Arab man on an Algerian beach and finds himself on trial for murder. The cosmic absurdity of Camus’s vision is delivered with a gut-punch by Visconti and Mastroianni in a stunning final scene that stands as one of the actor’s greatest moments. Long unavailable (and never released on DVD), The Stranger deserves to be rediscovered for its singular, haunting power. 35mm print from Istituto Luce Cinecittà. Friday, June 8, 9:30pm; Tuesday, June 12, 9:00pm.