1,721,003 research outputs found
Introduction: Deep Space Compositions in Italian Film
No full textThis collection of four pieces takes a shared focus on the technique of deep space compositions. As an experiment, the pieces first locate a specific instance of deep space in any example of Italian film, then extending analysis and interpretation from this point. They are placed together in a discursive collection in order to compare results. The objective of the pieces is to use the technique as a mode of productively and originally reassessing the films themselves, and to reject preemptive textual readings. The pieces examine La signora di tutti (Max Ophuls, 1934), Le quattro volte (Michelangelo Frammartino, 2010), Un poliziotto scomodo (Stelvio Massi, 1978), and Splendori e miserie di Madame Royale (Vittorio Caprioli, 1970). The pieces bring into focus and reconsider intrinsic formal issues related to space, from its realist credentials through to issues of distraction, focus, simultaneity and movement
LE NORME TRAVIATE: SAGGI SUL GENERE E LA SESSUALITÀ NEL CINEMA E NELLA TELEVISIONE ITALIANA, SERGIO RIGOLETTO (2020) Milan: Meltemi, 174 pp., ISBN 978-8-85519-161-6, p/bk, €15.00
No full textMasculinity and Italian cinema: sexual politics, social conflict and male crisis in the 1970s
No full text1.6: Subjugation and Narrative Agency (‘Roulette spagnola’, Stefano Sollima)
No full texthttp://www.tandfonline.com/loi/yita20#.VwH1hU1f1Q
The Queer Potential of Mainstream Film
No full textThis chapter provides an overview of the presence of LGBTQ+ characters in contemporary popular Italian cinema. It studies their role within the films as figures of tension that enable a non-homophobic or non-racist image of Italy within certain normative, class or race limits, but considers what the queer potential of these characters might nonetheless be
Rome, Postmodern Narratives of a Cityscape
No full textUntil the mid-twentieth century the Western imagination seemed intent on viewing Rome purely in terms of its classical past or as a stop on the Grand Tour. This collection of essays looks at Rome from a postmodern perspective, including analysis of the city's 'unmappability', its fragmented narratives and its iconic status in literature and film
From Distribution to Circulation Studies: Mapping Italian Films Abroad
No full textThis article begins with the observation that, in the era of media convergence and abundance, the consumption of audio-visual media occurs in such a fragmentary and ‘informal’ way that to speak simply of ‘distribution’ is no longer sufficient. Though it remains relevant – as demonstrated by the continued centrality of the box office – this term implies a vertical, closed economic process which overshadows other viewing processes (institutional and non-). The article thus proposes adopting the term ‘circulation’, which instead would allow scholars to map out the movement of audio-visual products in various (geographic, technological) contexts, in order then to question cinema’s cultural impact in a broader and more exhaustive way. Following a theoretical reflection on circulation and the conception of national cinema, the article reflects on the case of Italy. The discussion then presents the results of a quantitative analy- sis of box-office data – which is justified as a fundamental starting point for reflections on circula- tion. The second and third parts illustrates the shortcomings of Italian cinema in particular from a comparative perspective, identifying the potential successful circulation models, and national cin- emas within the European Union. The fourth examines the European markets where Italian cine- ma finds the most significant audiences, thus signalling its various strategic circulation patterns
Introduction: the international circulation of European cinema in the digital age
No full textIt is little more than thirty years since the introduction in 1987 of the European Community’s most significant financial support system for cinema and audiovisual media, the ‘Programme MEDIA’ (‘Mesures pour encourager le développement de l’industrie audiovisuelle’). In the meantime, the media and political landscapes have undergone significant changes: on the one hand, the digital revolution has shaken up, to some extent, film production and distribution; on the other, more recently, populist political currents are posing urgent questions about the very definition of nationhood and the wider European community. This issue of "Comunicazioni Sociali" reflects on the production and distribution of film and television within this context
Nino Rota e il cinema italiano del dopoguerra. Economia, modi di produzione e reti sociali
Full text linkL’articolo riflette sul ruolo di Rota in un decennio cruciale per la sua carriera e per il cinema nazionale. Incrociando dati presenti sugli archivi della produzione italiana e sui resoconti relativi agli incassi analizziamo il numero complessivo e la distribuzione delle pellicole musicate da Rota, gli incassi assoluti e il loro posizionamento relativo rispetto ai film italiani in generale. Attraverso gli strumenti della social network analysis ricostruiamo poi le reti professionali del musicista, per verificare quali siano i professionisti e le società con cui collabora più frequentemente, nonché la centralità di Rota quale nodo di relazioni all’interno del sistema. L’obiettivo è quello di usare la posizione di Rota per meglio comprendere i modi di produzione tipici di quella fase del cinema italiano, il progressivo consolidamento di una fascia medio-alta di produzione, nonché il ruolo delle ‘famiglie lavorative’ nell’elaborazione di questo modello
Introduction
No full textThe cycles of perceived success and failure of the Italian cinema have meant that its historiography lends itself readily to chronological periodization. These cycles have been rationalized and contextualized according to a terminology of crisis and rebirth. On the one hand, periods populated with commercial or critical successes in cinema are posited as ‘anni d’oro’, such as the international fame of Italian divi in the 1910s, the new neorealist image in the 1940s, or the proliferation of modernist masterpieces in the 1960s. On the other, subsequent periods of dwindling audiences and tumbling profits are framed in dichotomic, eschatological terms: the major instance here is the current crisis of the cinema which appears to date back to the late 1960s. This article introduces a special issue of the journal Italian Studies that is devoted to a critical re-appraisal of these historical periods, using a variety of thematic approaches and referring to little considered genres of filmmaking
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