Search results

You are looking at 1 - 10 of 47 items for :

  • "Italian cinema" x
  • Refine by access: All content x
Clear All
Vito Zagarrio

The one-shot sequence – the articulation of an entire scene through a single, unbroken long take – is one of the cinema’s most important rhetorical devices and has therefore been much used and widely theorised over the years. This article provides a brief overview of these theories and of the multiple ways in which the one-shot sequence has been used both in world cinema (in general) and Italian cinema (in particular) in order to contextualise its use by one of Italian cinema’s best-known and most significant practitioners, Paolo Sorrentino. Through close analyses of one-shot sequences in Sorrentino’s films L’uomo in più/One Man Up, Le conseguenze dell’amore/The Consequences of Love, This Is the Place and Il divo – La vita spettacoloare di Giulio Andreotti – the article argues that Sorrentino’s predilection for the device is best explained by the wide variety of functions that it serves (as a mark of directorial bravura and auteur status; as a self-reflexive device and meditation on the cinematic gaze; as a political tool; and as a means of generating emotion). While rooted in history, Sorrentino’s use of the one-shot sequence thus transcends its position within Italian film history and discourse.

Film Studies
Valentina Vitali

2 The exclusion of giallo films from the history of Italian cinema La ragazza che sapeva troppo / The Evil Eye / The Girl Who Knew Too Much was directed by Mario Bava in 1962. It tells the story of Nora Davis (Letícia Román), a young, blonde American woman who journeys to Rome on holiday. The film’s first image, shown over the titles, is of a TWA aeroplane about to land at Fiumicino Airport. On the soundtrack is Adriano Celentano’s popular song ‘Furore’ (meaning ‘fury’). Immediately after the titles, we cut to inside the jetliner. Nora, one of the passengers, is

in Capital and popular cinema
The dollars are coming!

While post-war popular cinema has traditionally been excluded from accounts of national cinemas, the last fifteen years have seen the academy’s gradual rediscovery of cult and, more, generally, popular films. Why, many years after their release, do we now deem these films worthy of study? The book situates ‘low’ film genres in their economic and culturally specific contexts (a period of unstable ‘economic miracles’ in different countries and regions) and explores the interconnections between those contexts, the immediate industrial-financial interests sustaining the films, and the films’ aesthetics. It argues that the visibility (or not) of popular genres in a nation’s account of its cinema is an indirect but demonstrable effect of the centrality (or not) of a particular kind of capital in that country’s economy. Through in-depth examination of what may at first appear as different cycles in film production and history – the Italian giallo, the Mexican horror film and Hindi horror cinema – Capital and popular cinema lays the foundations of a comparative approach to film; one capable of accounting for the whole of a national film industry’s production (‘popular’ and ‘canonic’) and applicable to the study of film genres globally.

Asia Argento as an Italian Difficult Woman
Giovanna Maina, Federico Zecca, Danielle Hipkins, and Catherine O’Rawe

This article offers a reconstruction of the birth of Asia Argento’s star image, with specific reference to the Italian context. Through an analysis of the media discourses that circulated around the actress in the early phase of her career (from the end of the 1980s to the 2000s), we can trace the evolution of her star image from enfant prodige of Italian cinema, and youth icon, to that of the ‘anti-star’ who strongly divides public opinion, owing to her unruliness on and off-screen. The article concludes that her pre-existing association with sexual transgression inflected how her behaviour with Harvey Weinstein and Jimmy Bennett was interpreted in the Italian public sphere.

Film Studies
History and representations of confino

Confino (i.e., internal exile) was a malleable form of imprisonment during the Fascist ventennio. Confinement allowed Mussolini to bypass the judiciary thereby placing prisoners outside magistrates’ jurisdiction. The Regime applied it to political dissidents, ethnic and religious minorities, gender nonconforming people, and mafiosi, among others. Recent political discourse in and beyond Italy has drawn on similar rationales to address perceived threats against the State. This study examines confino from a historical, political, social, and cultural perspective. It provides a broad overview of the practice and it also examines particular cases and situations. In addition to this historical assessment, it is the first to analyse confinement as a cultural practice through representations in literature (e.g., letters, memoirs, historical fiction) and film. English-language publications often overlook confino and its representations. Italian critical literature, instead, often speaks in purely historical terms or is rooted in partisan perspectives. This book demonstrates that internal exile is not purely political: it possesses a cultural history that speaks to the present. The scope of this study, therefore, is to provide a cultural reading that makes manifest aspects of confino that have been appropriated by contemporary political discourse. Although directed towards students and specialists of Italian history, literature, film, and culture, the study offers a coherent portrait of confino accessible to those with a general interest in Fascism.

Stefania Parigi

the stereotypes of the Italian cinema of the 1930s. It elaborated some of the most vital aspects of Italian culture during fascism: American literature as fostered by Cesare Pavese and Elio Vittorini and the lesson of French cinematic realism, in particular the work of Jean Renoir, with whom Visconti worked as an assistant in the 1930s. His experience working with Renoir (on Partie de campagne and Les Bas-Fonds (both

in Cinema – Italy
Abstract only
Sam Rohdie

­omedies, musicals, melodramas. The Italian cinema was a ‘classical’ cinema like the Hollywood cinema it imitated for reasons of economy as much as for fashion. For many, the American cinema was a model for a ‘fascist’ cinema because of its emphasis on action, movement, energy and its avoidance of reflectiveness and of ideas. The ‘new’ Italian cinema, like the American cinema, was primarily a cinema of narrative fictional fantasies. At the same time, a new cinema began to take shape different from the genre-based classical one. It tended to be more realistic in the sense of taking

in Film modernism
Abstract only
The princess and the post-’68 fairy tale
Susan Weiner

on his long and highly successful collaboration with Federico Fellini, surely one of the most productive filmmaking liaisons in post-war Italian cinema. Flaiano submitted the original draft of the script to the American Writers Guild in 1968 (Tassone 1978 : 156). He based the subject matter on his experiences in America in the late 1960s and proposed, at this late stage of his career, to realise the project as both

in From perversion to purity
Author: Jacopo Pili

Anglophobia in Fascist Italy traces the roots of Fascist Anglophobia from the Great War and through the subsequent peace treaties and its development during the twenty years of Mussolini’s regime. Initially, Britain was seen by many Italians as a ‘false friend’ who was also the main obstacle to Italy’s foreign policy aspirations, a view embraced by Mussolini and his movement. While at times dormant, this Anglophobic sentiment did not disappear in the years that followed, and was later rekindled during the Ethiopian War. The peculiarly Fascist contribution to the assessment of Britain was ideological. From the mid-1920s, the regime’s intellectuals saw Fascism as the answer to a crisis in the Western world and as irredeemably opposed to Western civilisation of the sort exemplified by Britain. Britain was described as having failed the ‘problem of labour’, and Fascism framed as a salvation ideology, which nations would either embrace or face decay. The perception of Britain as a decaying and feeble nation increased after the Great Depression. The consequence of this was a consistent underrating of British power and resolve to resist Italian ambitions. An analysis of popular reception of the Fascist discourse shows that the tendency to underrate Britain had permeated large sectors of the Italian people, and that public opinion was more hostile to Britain than previously thought. Indeed, in some quarters hatred towards the British lasted until the end of the Second World War, in both occupied and liberated Italy.

Abstract only
Sam Rohdie

government. The editor of the journal was Vittorio Mussolini, the son of the Fascist leader, Benito Mussolini. The editorial board of the journal, which included Luchino Visconti, also comprised critics who represented new and unconventional views on the cinema, some of whom were clandestine members of the Italian Communist Party (PCI) and the Italian Resistance. It was in Cinema from 1938 onwards that the first formulations of a new socially aware, socially committed Italian cinema, later referred to as neorealismo, began to appear. Though it is possible to see in these

in Film modernism