Details

A Companion to Italian Cinema


A Companion to Italian Cinema


Wiley Blackwell Companions to National Cinemas 1. Aufl.

von: Frank Burke

171,99 €

Verlag: Wiley-Blackwell
Format: EPUB
Veröffentl.: 10.04.2017
ISBN/EAN: 9781119006176
Sprache: englisch
Anzahl Seiten: 550

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Beschreibungen

<p>Written by leading figures in the field, <i>A Companion to Italian Cinema</i> re-maps Italian cinema studies, employing new perspectives on traditional issues, and fresh theoretical approaches to the exciting history and field of Italian cinema.</p> <ul> <li>Offers new approaches to Italian cinema, whose importance in the post-war period was unrivalled</li> <li>Presents a theory based approach to historical and archival material</li> <li>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</li> <li>Covers recent issues such as feminism, stardom, queer cinema, immigration and postcolonialism, self-reflexivity and postmodernism, popular genre cinema, and digitalization</li> <li>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</li> </ul>
<p>Acknowledgments xi</p> <p>Notes on Contributors xii</p> <p>Editor’s Notes xix</p> <p>Glossary xx</p> <p>Preface and In Memoriam xxiv</p> <p><b>Part I First Things 1</b></p> <p>1 Introduction 3<br /><i>Frank Burke</i></p> <p>2 Italian Cinema Studies: A Conversation with Peter Bondanella 16<br /><i>Frank Burke</i></p> <p><b>Part II Historical/Chronological Perspectives 29</b></p> <p>Silent Cinema 29</p> <p>3 Silent Italian Cinema: A New Medium for Old Geographies 31<br /><i>Giorgio Bertellini</i></p> <p>4 Stardom in Italian Silent Cinema 48<br /><i>Jacqueline Reich</i></p> <p>Fascism and Italian Cinema 65</p> <p>5 Genre, Politics, and the Fascist Subject in the Cinema of Italy (1922–1945) 66<br /><i>Marcia Landy</i></p> <p>The Italian Film Industry 83</p> <p>6 Staying Alive: The Italian Film Industry from the Postwar to Today 84<br /><i>Barbara Corsi</i></p> <p>Cinema and Religion 103</p> <p>7 Italian Cinema and Catholicism: From Vigilanti cura to Vatican II and Beyond 104<br /><i>Marco Vanelli</i></p> <p>Neorealism 121</p> <p>8 The Italian Neorealist Experience: The Orphan Child and New Ways of Looking at the World 122<br /><i>Lorenzo Borgotallo</i></p> <p>9 Italian Neorealism: Quotidian Storytelling and Transnational Horizons 139<br /><i>Laura E. Ruberto and Kristi M. Wilson</i></p> <p>Stardom and the 1950s 157</p> <p>10 Italian Female Stars and Their Fans in the 1950s and 1960s 158<br /><i>Réka Buckley</i></p> <p>Film Comedy—the 1950s and Beyond 179</p> <p>11 The Popularity of Italian Film Comedy 180<br /><i>Louis Bayman</i></p> <p>12 The Question of Italian National Character and the Limits of Commedia all’italiana: Alberto Sordi, Federico Fellini, and Carlo Lizzani 198<br /><i>Stephen Gundle</i></p> <p>French?]Italian Film Collaborations into the 1960s 215</p> <p>13 Cross?]Fertilization between France and Italy from Neorealism through the 1960s 216<br /><i>Adriano Aprà</i></p> <p>Auteur Cinema (1960s and 1970s) 227</p> <p>14 Italian 1960s Auteur Cinema (and beyond): Classic, Modern, Postmodern 228<br /><i>Veronica Pravadelli</i></p> <p>Popular Film Genres (1950s to 1970s) 249</p> <p>15 Italian Popular Film Genres 250<br /><i>Austin Fisher</i></p> <p>Politics and/of Terrorism (1960s to the Present) 267</p> <p>16 The Representation of Terrorism in Italian Cinema 268<br /><i>Christian Uva</i></p> <p>Italian Cinema from the 1970s to the Present 283</p> <p>17 From Cinecitta to the Small Screen: Italian Cinema After the Mid?]1970s Crisis 284<br /><i>Tiziana Ferrero?]Regis</i></p> <p>18 Contemporary Italian Film in the New Media World 303<br /><i>Mary P. Wood</i></p> <p><b>Part III Alternative Film Forms 323</b></p> <p>19 Thinking Cinema: The Essay Film Tradition in Italy 325<br /><i>Laura Rascaroli</i></p> <p>20 Italian Experimental Cinema: Art, Politics, Poetry 340<br /><i>Sandra Lischi</i></p> <p>21 Notes on the History of Italian Nonfiction Film 361<br /><i>Luca Caminati and Mauro Sassi</i></p> <p><b>Part IV Critical, Aesthetic, and Theoretical Issues 375</b></p> <p>22 A Century of Music in Italian Cinema 377<br /><i>Emanuele D’Onofrio</i></p> <p>23 The Practice of Dubbing and the Evolution of the Soundtrack in Italian Cinema: A Schizophonic Take 393<br /><i>Antonella Sisto</i></p> <p>24 Watching Italians Turn Around: Gender, Looking, and Roman/Cinematic Modernity 408<br /><i>John David Rhodes</i></p> <p>25 Women in Italian Cinema: From the Age of Silent Cinema to the Third Millennium 427<br /><i>Bernadette Luciano and Susanna Scarparo</i></p> <p>26 Imagining the Mezzogiorno: Old and New Paradigms 447<br /><i>Fulvio Orsitto</i></p> <p>27 The Queerness of Italian Cinema 467<br /><i>Derek Duncan</i></p> <p>28 An Accented Gaze: Italy’s Transmigrant Filmmakers 484<br /><i>Áine O’Healy</i></p> <p>29 How to Tell Time: Deleuze and Italian Cinema 500<br /><i>Angelo Restivo</i></p> <p>30 The Screen in the Mirror: Thematic and Textual Reflexivity in Italian Cinema 512<br /><i>Stefania Parigi</i></p> <p>31 Deterritorialized Spaces and Queer Clocks: Intertextuality in Italian Cinema 531<br /><i>Marguerite Waller</i></p> <p><b>Part V Last Things 551</b></p> <p>32 Forum: The Present State and Likely Prospects of Italian Cinema and Cinema Studies 553<br /><i>Flavia Brizio?]Skov, Flavia Laviosa, Millicent Marcus, Alan O’Leary, Massimo Riva, Pasquale Verdicchio, and Christopher Wagstaff</i></p> <p>Index 572</p>
<p><b>Frank Burke</b> is Professor Emeritus of Film at Queen's University, Canada. He is the author of <i>Fellini's Films: From Postwar to Postmodern</i> (1996) and <i>Federico Fellini: Variety Lights to Dolce Vita</i> (1984) and has co-edited <i>Federico Fellini: Contemporary Perspectives</i> (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 <i>Canadian Journal of Political and Social Theory and Literature/Film Quarterly.</i></p>
<p>"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 <i>Companion</i> 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."<br />—<b>Robert Lumley,</b>University College London</p> <p>Written by leading figures in the field and embracing the significant films, filmmakers, and historical moments of Italian cinema, <i>A Companion to Italian Cinema</i> 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.</p> <p>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 <i>Cabiria</i> (1914) to <i>La grande bellezza</i> (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.</p>

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