3,669 research outputs found
Nontheatrical Film Festivals
No full textThe idea of this publication stemmed out from the Reframing Film Festivals conference which the editors have organized in Venice, in February 2020. On this occasion, a number of scholars and archivists from France, Austria, Italy, Germany, Spain and UK have presented their research, starting to unravel this corner of film histories which has remained neglected thus far. Ranging from the historical analysis of the international competitions for amateur filmmakers to festivals dedicated to the analog films, from the developments of the Lussas Documentary Film Festival to the ethnographic film festival circuits, these essays shed light on the agency, histories and economies of specialized festivals and on alternative uses of the cinematic medium, counter-cultures and artisanal products
I festival cinematografici come campo di studio. Metodi, teorie e pratiche
No full text“I festival cinematografici come campo di studio. Metodi, teorie e pratiche” is an anthology which includes and, for the first time, translates in Italian the most relevant contributions in Film Festival Studies. The volume is aimed at offering a rigorous, analytical assessment of the festival scene, at a time when festivals have become an increasingly vital component of film culture. In this regard, this anthology will be of enormous use to both students in Italian universities as well as to professionals. The volume will be used in Italian universities for undergraduate and master level courses dedicated to the study of film festivals, their histories and economies. Further, this anthology will be of great interest to festival organizers and film practitioners
Reinventing Mao. Maoisms and National Cinemas
No full textRaccolta di articoli dedicati al rapporto tra cinema transnazionale e maoism
Federico Fellini (1920-2020)
No full textThere are restaurants called ‘La Dolce Vita’ all over the world. Words like paparazzi have made it into dictionaries. Airports, streets, piazzas and schools are named after Federico Fellini. And yet, as cinema scholars understand, Fellini’s films are not nearly as well-known as one might expect – even if university students will call him ‘Maestro’ without hesitation, when quizzed about the great directors in the history of cinema. There is almost no trace of Fellini on Amazon Prime or Netflix. In the best-case scenario, to most ‘millen- nials’ and ‘post-millennials’ La Dolce Vita (1960) is not a film, but an image seen on Instagram or YouTube: Marcello Mastroianni and Anita Ekberg taking a dip in the Trevi Fountain, two unrivalled ‘influencers’ promoting the Italian brand and economic boom. In other words, far from being part of a ‘shared culture’, Fellini’s films have been reduced, over the course of time, to the clichés and stereotypes that feed the constellation of meanings surrounding the term ‘Felliniesque’, and this often discourages new (and updated) readings of his work.With hat and red scarf. The building of Federico Fellini’s public image.
The centenary of the birth of director Federico Fellini in 2020 invites a unique opportunity to reassess his contribution to the history of Italian culture from new perspectives. With his monumental film production, which has been extensively studied—at least from La dolce vita forward—the Riminese director gradually seeped into Italy’s daily life. While his films have sparked lively debates since he first became popular in the 1950s, less attention has been devoted to the process that has led many scholars to consider him the emblematic figure of the film artist, both as a major character in the cultural history of Italy and as the symbol of what is quintessentially ‘Italian’. Unlike other Italian directors, Fellini became a newsworthy and publicized figure beginning in the 1960s. He contributed to the creation of an ‘elusive’ image of himself (Hodsdon 2017) both through the construction of several cinematic alter-egos and through unmistakable appearances with his hat and red scarf in documentaries, feature films, illustrated news magazines, press and TV reports, and other forms of media. Equally, he emerged as a staunch defender of certain political and cultural struggles, such as those against television commercials or against Berlusconi (who was still an editor at that time). Additionally, he became an object of scrutiny and discussion for journalists, critics, cinephiles, colleagues, and biographers searching for an openly hagiographical definition of the threshold of the Italian artistic tradition
Maoisms, National Cinemas, Transnational Perspectives: An Introduction
No full textThe charismatic and controversial figure of Mao Zedong has not only left a deep mark on the history of twentieth-century China — looming still over the country’s new capitalist developments, as a sort of ghost — but it has also spread remarkably beyond national borders and into completely different political and social contexts. In particular, after the start of the Cultural Revolution (1966) several groups inspired by Chinese Marxism-Leninism appeared worldwide. From the United States to India, from New Zealand to Peru, from Hong Kong to Japan, as well as within European countries, specific political ideals, revolutionary propositions, fantasies and images of purity have been projected onto the figure of Mao, to some extent giving way to a form of idolatry — so called maolâtrie. All the articles included in this special issue adopt a trans-historical and transcultural perspective, suggesting to some extent that the complexity of the process of translation and ‘reinvention’ of Maoism in different cultural and national contexts calls for a comparative approach, in order to highlight the specificities and distinctive features of each experience
Naming to Understand: Film Festival Studies and its Expanding Lexicon
No full text"Reframing Film Festivals: Politics, Histories and Agencies" seeks to foster an interdisciplinary and intersectional reading of film festivals, here conceived as a historiographic “dispositive”, as cultural formations and as financial institutions. Within a single and cohesive research framework, this curated collection makes a two-fold intervention in film festivals studies: on the one hand, it investigates how film festivals, by championing certain discourses of and on cinema and media, contribute to articulate and re-position specific national, cultural, gender identities. On the other hand, it analyses the process by which film festivals add value within the film industry as much as to local touristic economies
With a hat and a red scarf: The construction of Federico Fellini’s public image
No full textThere are restaurants called ‘La Dolce Vita’ all over the world. Words like paparazzi have made it into dictionaries. Airports, streets, piazzas and schools are named after Federico Fellini. And yet, as cinema scholars understand, Fellini’s films are not nearly as well-known as one might expect – even if university students will call him ‘Maestro’ without hesitation, when quizzed about the great directors in the history of cinema. There is almost no trace of Fellini on Amazon Prime or Netflix. In the best-case scenario, to most ‘millennials’ and ‘post-millennials’ La Dolce Vita (1960) is not a film, but an image seen on Instagram or YouTube: Marcello Mastroianni and Anita Ekberg taking a dip in the Trevi Fountain, two unrivalled ‘influencers’ promoting the Italian brand and economic boom. In other words, far from being part of a ‘shared culture’, Fellini’s films have been reduced, over the course of time, to the clichés and stereotypes that feed the constellation of meanings surrounding the term ‘Felliniesque’, and this often discourages new (and updated) readings of his work...
Approdo a Tulum. Le Neverland a fumetti di Fellini e Manara
No full textNel 1985 Federico Fellini si liberava dell'ossessione della memoria di un viaggio fatto nello Yucatan con lo scrittore Andrea De Carlo e l'antropologo-esoterico Carlo Castaneda, scrivendo (con Tullio Pinelli) il soggetto del "Viaggio a Tulun", che sarà pubblicato a puntate sul «Corriere della sera» nel 1986. Le matite di Milo Manara trasformeranno il soggetto che non poteva diventare un film in un fumetto sceneggiato dallo stesso regista riminese. Dapprima pubblicato a puntate sulla rivista «Corto Maltese», il fumetto di Fellini e Manara, "Viaggio a Tulum, da un soggetto di Federico Fellini, per un film da fare", ebbe un grande successo sancito dalle numerose edizioni che seguirono. "Approdo a Tulum. Le Neverland a fumetti di Fellini e Manara" è il saggio che intende analizzare il denominatore comune che ha legato i due artisti. Il testo ricostruisce, con attenzione alla storia e al costume, il rapporto che Fellini ebbe con il fumetto, da quando, prima di divenire regista, fu autore di vignette e storielle su periodici satirici, fino all'incontro fatale con il disegnatore Manara, la cui carriera attraversa un pezzo significativo di storia del fumetto italiano, anche questa ricostruita per il lettore con accurata dovizia
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