A Companion to Italian Cinema. Wiley Blackwell Companions to National Cinemas

  • ID: 4290573
  • Book
  • Region: Italy
  • 648 Pages
  • John Wiley and Sons Ltd
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"If you want to get up to speed on the latest and most significant research on Italian cinema, this is the place to start. The Companion provides overviews that orient the general reader and a rich mix of focused studies for the specialist. It revisits familiar themes (neo–realism, national character, great directors) with refreshing new readings, but broadens the cultural context with the inclusion of work on genres, stars, and audiences that subvert critical hierarchies. The writing engages with current theoretical debates without jargon. Analyses of overlooked phenomena such as dubbing, the role of the Catholic Church, and art/experimental film open up unusual perspectives. A sharp editorial intelligence brings coherence to a multi–faceted volume rich in insight and information."
Robert Lumley,University College London

Written by leading figures in the field and embracing the significant films, filmmakers, and historical moments of Italian cinema, A Companion to Italian Cinema re–maps the genre′s rich history, capturing its celebrated intellectual and aesthetic verve and delineating its socio–political and formal contours from its origins to the early years of the 21st Century.

Including essays from both established and more recent scholars, the Companion considers traditional areas of research such as neorealism, auteur cinema, commedia all′italiana, Italian silent cinema, politics, Catholicism, and terrorism. A significant section of the volume is also dedicated to more recent issues such as feminism, queer cinema, immigration, and digitalization. This volume addresses major films in the history of Italian cinema, from Cabiria (1914) to La grande bellezza (2013), and major directors such as Rossellini, Fellini, Antonioni, and Bertolucci. The role of music and issues of distribution and reception are also considered, and a comprehensive overview of the history of Italian cinema studies is provided. The result is a comprehensive, cutting–edge collection that will become a standard resource for academic and non–academic purposes alike.

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Acknowledgments xi

Notes on Contributors xii

Editor s Notes xix

Glossary xx

Preface and In Memoriam xxiv

Part I First Things 1

1 Introduction 3Frank Burke

2 Italian Cinema Studies: A Conversation with Peter Bondanella 16Frank Burke

Part II Historical/Chronological Perspectives 29

Silent Cinema 29

3 Silent Italian Cinema: A New Medium for Old Geographies 31Giorgio Bertellini

4 Stardom in Italian Silent Cinema 48Jacqueline Reich

Fascism and Italian Cinema 65

5 Genre, Politics, and the Fascist Subject in the Cinema of Italy (1922 1945) 66Marcia Landy

The Italian Film Industry 83

6 Staying Alive: The Italian Film Industry from the Postwar to Today 84Barbara Corsi

Cinema and Religion 103

7 Italian Cinema and Catholicism: From Vigilanti cura to Vatican II and Beyond 104Marco Vanelli

Neorealism 121

8 The Italian Neorealist Experience: The Orphan Child and New Ways of Looking at the World 122Lorenzo Borgotallo

9 Italian Neorealism: Quotidian Storytelling and Transnational Horizons 139Laura E. Ruberto and Kristi M. Wilson

Stardom and the 1950s 157

10 Italian Female Stars and Their Fans in the 1950s and 1960s 158Réka Buckley

Film Comedy the 1950s and Beyond 179

11 The Popularity of Italian Film Comedy 180Louis Bayman

12 The Question of Italian National Character and the Limits of Commedia all italiana: Alberto Sordi, Federico Fellini, and Carlo Lizzani 198Stephen Gundle

French ]Italian Film Collaborations into the 1960s 215

13 Cross ]Fertilization between France and Italy from Neorealism through the 1960s 216Adriano Aprà

Auteur Cinema (1960s and 1970s) 227

14 Italian 1960s Auteur Cinema (and beyond): Classic, Modern, Postmodern 228Veronica Pravadelli

Popular Film Genres (1950s to 1970s) 249

15 Italian Popular Film Genres 250Austin Fisher

Politics and/of Terrorism (1960s to the Present) 267

16 The Representation of Terrorism in Italian Cinema 268Christian Uva

Italian Cinema from the 1970s to the Present 283

17 From Cinecitta to the Small Screen: Italian Cinema After the Mid ]1970s Crisis 284Tiziana Ferrero ]Regis

18 Contemporary Italian Film in the New Media World 303Mary P. Wood

Part III Alternative Film Forms 323

19 Thinking Cinema: The Essay Film Tradition in Italy 325Laura Rascaroli

20 Italian Experimental Cinema: Art, Politics, Poetry 340Sandra Lischi

21 Notes on the History of Italian Nonfiction Film 361Luca Caminati and Mauro Sassi

Part IV Critical, Aesthetic, and Theoretical Issues 375

22 A Century of Music in Italian Cinema 377Emanuele D Onofrio

23 The Practice of Dubbing and the Evolution of the Soundtrack in Italian Cinema: A Schizophonic Take 393Antonella Sisto

24 Watching Italians Turn Around: Gender, Looking, and Roman/Cinematic Modernity 408John David Rhodes

25 Women in Italian Cinema: From the Age of Silent Cinema to the Third Millennium 427Bernadette Luciano and Susanna Scarparo

26 Imagining the Mezzogiorno: Old and New Paradigms 447Fulvio Orsitto

27 The Queerness of Italian Cinema 467Derek Duncan

28 An Accented Gaze: Italy s Transmigrant Filmmakers 484Áine O Healy

29 How to Tell Time: Deleuze and Italian Cinema 500Angelo Restivo

30 The Screen in the Mirror: Thematic and Textual Reflexivity in Italian Cinema 512Stefania Parigi

31 Deterritorialized Spaces and Queer Clocks: Intertextuality in Italian Cinema 531Marguerite Waller

Part V Last Things 551

32 Forum: The Present State and Likely Prospects of Italian Cinema and Cinema Studies 553Flavia Brizio ]Skov, Flavia Laviosa, Millicent Marcus, Alan O Leary, Massimo Riva, Pasquale Verdicchio, and Christopher Wagstaff

Index 572

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Frank Burke
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