Popular actors’ comedy: Reception and influence, Italy‐Argentina

IF 0.2 0 FILM, RADIO, TELEVISION

Journal of Italian Cinema and Media Studies Pub Date : 2022-03-01 DOI:10.1386/jicms_00131_1

Lucía Rodríguez Riva

引用次数: 0

Abstract

During the 1950s, Italian film releases increased exponentially in Buenos Aires. This growth occurred not only as a result of the popularity of this type of cinematography around the world but also because of the interest that it produced in local spectators. In this article, I map a quantitative overview about the arrival of this category of cinema to Buenos Aires. Next, I focus on a key aspect: the reception of commedia all’italiana (‘comedy Italian style’). Then, I delve into the kind of comedy in which the comedian occupies the centre of the mise en scène (as Totò or Alberto Sordi). The hypothesis that guides this article is that popular actors, both in Italian and Argentine films, constitute a key issue that allows one to see the continuity between both types of cinematography (through appropriations and reconfigurations of its procedures), as it also allows one to understand the way in which the represented worlds were projected to popular audiences.

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受欢迎演员的喜剧:意大利-阿根廷的接受和影响

在20世纪50年代，意大利电影在布宜诺斯艾利斯的发行呈指数增长。这种增长不仅是因为这种类型的电影在世界范围内的流行，而且还因为它在当地观众中产生了兴趣。在这篇文章中，我绘制了一个关于这类电影到达布宜诺斯艾利斯的定量概述。接下来，我将关注一个关键方面:对意大利喜剧风格的接受。然后，我深入研究喜剧演员占据场景中心的那种喜剧(如Totò或阿尔贝托·索尔迪)。指导本文的假设是，意大利和阿根廷电影中的流行演员构成了一个关键问题，使人们能够看到两种类型的电影摄影之间的连续性(通过其程序的挪用和重新配置)，因为它也允许人们理解所代表的世界被投射给流行观众的方式。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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来源期刊

Journal of Italian Cinema and Media Studies FILM, RADIO, TELEVISION-

CiteScore

0.40

自引率

50.00%

发文量

期刊介绍： Journal of Italian Cinema & Media Studies is an English-language forum for theoretical, methodological and critical debate on Italian film and media production, reception and consumption. It provides a platform for dialogue between academics, filmmakers, cinema and media professionals. This peer-reviewed journal invites submissions of scholarly articles relating to the artistic features, cultural themes, international influence and history of Italian film and media. Furthermore, the journal intends to revive a critical discussion on the auteurs, revisit the historiography of Italian cinema and celebrate the dynamic role played by new directors. The journal includes a book and film review section as well as notes on Italian film festivals abroad and international conference reports. The profound transformation undergone by the rapidly expanding media environment under the impact of digital technology, has lead scholars in the field of media studies to elaborate new theoretical paradigms and methodological approaches to account for the complexities of a changing landscape of convergence and hybridization. The boundaries between cinema and media as art forms and fields of inquiry are increasingly hybridized too. Taking into account this evolving scenario, the JICMS provides an international arena for critical engagement with a wider range of issues related to the current media environment. The journal welcomes in particular contributions that discuss any aspects of Italian media production, distribution and consumption within national and transnational, social, political, economic and historical contexts.