A Companion to Italian Cinema
Wiley Blackwell Companions to National Cinemas 1. Aufl.
Written by leading figures in the field, A Companion to Italian Cinema re-maps Italian cinema studies, employing new perspectives on traditional issues, and fresh theoretical approaches to the exciting history and field of Italian cinema. Offers new approaches to Italian cinema, whose importance in the post-war period was unrivalled Presents a theory based approach to historical and archival material Includes work by both established and more recent scholars, with new takes on traditional critical issues, and new theoretical approaches to the exciting history and field of Italian cinema Covers recent issues such as feminism, stardom, queer cinema, immigration and postcolonialism, self-reflexivity and postmodernism, popular genre cinema, and digitalization A comprehensive collection of essays addressing the prominent films, directors and cinematic forms of Italian cinema, which will become a standard resource for academic and non-academic purposes alike
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
Frank Burke is Professor Emeritus of Film at Queen's University, Canada. He is the author of Fellini's Films: From Postwar to Postmodern (1996) and Federico Fellini: Variety Lights to Dolce Vita (1984) and has co-edited Federico Fellini: Contemporary Perspectives (with Marguerite R. Waller, 2002). He has produced over 100 publications, keynote addresses, invited lectures, and special sessions on Italian and North American cinema, and has edited for the Canadian Journal of Political and Social Theory and Literature/Film Quarterly.
"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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