L'uomo in più



Paolo Sorrentino debutta al cinema prima dell'inizio di Napoli-Perugia, al San Paolo, il 18 marzo 2001.

Qui la scena iniziale de "L'uomo in più". Il Molosso - l'allenatore interpretato da Nello Mascia - è ispirato al "Petisso" Bruno Pesaola, allenatore del Napoli, della Fiorentina campione d'Italia nel 1969 e del Bologna. Il personaggio di Antonio Pisapia è invece ispirato ad Agostino Di Bartolomei. Lo stadio nel quale Antonio Pisapia rientra in campo dopo la sfuriata dell'allenatore è appunto il San Paolo quel giorno.

L'"uomo in più" è la quarta punta che Antonio vuole aggiungere al suo schema di gioco: schema ispirato a quello applicato da Ezio Glerean con il Cittadella.

Campi minori d'Europa

Hans Van der Meer
European fields. 
The landscape of lower league football
2006, Steidl, Göttingen
Book | Slideshow
L'artista

At the beginning of the 1995 football season, Hans van der Meer set out to take a series of football photographs that avoided the clichéd traditions of modern sports photography. In an attempt to record the game in its original form - a field, two goals and 22 players - he sought matches at the bottom end of the amateur leagues, the opposite end of the scale to the Champions’ League. And he avoided the enclosed environment of the stadium and tight telescopic details and hyperbole of action photography. Preferring neutral lighting, framing and camera angles, he chose instead to pull back from the central subject of the pitch, locating the playing field and its unfolding action within a specific landscape and context. He was heavily influenced by the old tradition of photography in which a wide view of the action often resulted in elements of the locality being present in the image.

Van der Meer began by focusing on sites within the Netherlands and in 1998 he published Dutch Fields, followed by a DVD, Flemish Fields, in 2000. His European odyssey has since taken him from small towns in the remote regions of Europe - from Bihariain in Romania to Björkö in Sweden, from Torp in Norway to Alcsóörs in Hungary, from Bartkowo in Poland to Beire in Portugal - and to the fringes of the major conurbations of Greece, Finland, England, France, Germany, Scotland, Switzerland, Holland, Slovakia, Denmark, Ireland, Wales, the Czech Republic, Belgium, Spain and Italy. These acute and subtle observations of the poetry and absurdity of human behavior connect the game of football to the basic futility of the human condition. The small tragicomedies are dwarfed by the serenity and permanence of the natural or manmade world that surrounds them but in their pathos can be found the original passion and humanity of the game.

Groundhopping in Belgium

Jurgen Vantomme
Offside. Belgian football fields
2016 | Lannoo Meulenhoff - Belgium

Groundhoppers travel to soccer fields and stadiums for the sake of the fields, not for the game. They bring tribute to the ‘fields of honor’, where old and young can pretend to be the new Messi and where fans give their soul for their club. Gone glory, hilarious surrealism, impossible locations. In this book photographer Jurgen Vantomme portrays soccer fields of Belgium. He sometimes focuses on the players on the field but more often he looks at the surroundings in which the game of games is played – from the cheering elderly in an almost empty stadium, to games in the snow.

La prima radiocronaca

Il 22 gennaio 1927, la BBC trasmise la prima radiocronaca di una partita di football, Arsenal-Sheffield United, valevole per la First Division. Da Highbury, ovviamente.

Il problema più grosso non fu tecnologico: a quella radiocronaca ne seguirono subito molte altre. Il problema era che non tutti conoscevano il football, non tutti erano in grado di ascoltare e visualizzare il gioco nella loro fantasia.

Vennero in soccorso alcuni giornali (nella foto, la pagina del Manchester Guardian) che pubblicarono un disegno del campo, suddiviso in sezioni numerate: così, mentre un cronista descrisse lo svolgimento dell'azione, un altro indicò il numero della zona in cui si trovava il pallone. Questo, più o meno, l'effetto: "Oh! pretty work, very pretty (section 5) ... now up field (7) ... a pretty (5,8) pass ... come on Mercer ... Now then Mercer; hello! Noble's got it (1,2)". Funzionò, a quanto pare.

Per la cronaca: finì 1:1. I telecronisti furono C.A. Lewis ed H.B.T. Wakelam.