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Schermi. Storie e culture del cinema e dei media in Italia最新文献

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Educare alla purezza: modelli pedagogici e politica cinematografica nel cattolicesimo italiano 纯洁教育:意大利天主教的教学模式和电影政策
Schermi. Storie e culture del cinema e dei media in Italia Pub Date : 2022-07-22 DOI: 10.54103/2532-2486/17414
Gianluca Della Maggiore
{"title":"Educare alla purezza: modelli pedagogici e politica cinematografica nel cattolicesimo italiano","authors":"Gianluca Della Maggiore","doi":"10.54103/2532-2486/17414","DOIUrl":"https://doi.org/10.54103/2532-2486/17414","url":null,"abstract":"\u0000\u0000\u0000\u0000Between the late nineteenth century and the World War I, several factors pushed secular and Catholic educational agencies to theorize pedagogical lines specifically aimed at governing individual sexuality. In the Catholic sphere, the pedagogical proposal hinged on an almost complete, even terminological, removal of sex and sexuality: that dimension of human life was veiled and compressed within a bipolar linguistic horizon: at one extreme “purity”, at the other “instincts”, “passions” and “senses”. The construction phase of this pedagogical model – which in its various transformations was central at least until the 1960s – coincided in practice with the first diffusion of cinema, going on to profoundly influence the Catholic approach to the new medium: in the atlas of Catholic pedagogy, cinema was immediately catalogued among the most resolute opponents of the “angelic virtue” of “purity”. This contribution intends to propose a long-term analysis aimed at highlighting the evolution of the relationship between this pedagogical model and film policy in Catholicism, identifying the links between this relationship and the progressive sexualization of Italian cinema.\u0000\u0000\u0000\u0000","PeriodicalId":248976,"journal":{"name":"Schermi. Storie e culture del cinema e dei media in Italia","volume":"120 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133690828","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Usi espressivi della forma-canzone nelle "original soundtrack" del fenomeno Checco Zalone: performance, visioni, immaginario e crossmedialità. Da "Angela" (2009) a "L'immunità di gregge" (2020) Checco Zalone现象的“原创音轨”中歌曲形式的表达用途:表演、视觉、想象和交叉媒介。从“安吉拉”(2009)到“羊群免疫”(2020)
Schermi. Storie e culture del cinema e dei media in Italia Pub Date : 2022-02-28 DOI: 10.54103/2532-2486/15245
Luca Bertoloni
{"title":"Usi espressivi della forma-canzone nelle \"original soundtrack\" del fenomeno Checco Zalone: performance, visioni, immaginario e crossmedialità. Da \"Angela\" (2009) a \"L'immunità di gregge\" (2020)","authors":"Luca Bertoloni","doi":"10.54103/2532-2486/15245","DOIUrl":"https://doi.org/10.54103/2532-2486/15245","url":null,"abstract":"Checco Zalone is one of the most important phenomena of Italian Cinema of the last decades. One of the constants of his cinema is the presence of the song-form, in particular of original songs (original soundtrack), used as a mean to transit from the theatre, radio and TV to the cinema: this paper constitutes a sociosemiotic, interdisciplinary and culturalist analysis of the different expressive modalities with which Zalone makes use of his songs, that become a configuration element of his own style, representing a specific cinematographic way and strengthening Zalone’s authorial role in his cinema in a complex and considerable way.","PeriodicalId":248976,"journal":{"name":"Schermi. Storie e culture del cinema e dei media in Italia","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132224110","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
La donna mostro. L’"aging" nella commedia all’italiana fra generi e genere 怪物女人。意大利性别喜剧中的“衰老”
Schermi. Storie e culture del cinema e dei media in Italia Pub Date : 2022-02-28 DOI: 10.54103/2532-2486/15555
R. Ragonese
{"title":"La donna mostro. L’\"aging\" nella commedia all’italiana fra generi e genere","authors":"R. Ragonese","doi":"10.54103/2532-2486/15555","DOIUrl":"https://doi.org/10.54103/2532-2486/15555","url":null,"abstract":"Sacred monsters: this is how most of the Italian media and public call actors Gassman, Mastroianni, Tognazzi, Manfredi, Sordi, to mark their legendary status in the Italian history of cinema. Comedy in particular is strongly associated with, and often defined by, the presence of these immensely popular male stars. However, this same period of time, this unique genre, has often relegated female figures to fixed stereotypes (the young maiden, the older woman, the mature one). How can we investigate such a complex phenomenon as the Commedia all’Italiana from a gender point of view? For example, by observing the different representations of time and of the aging process in the bodies of actors, actresses and characters (with particular attention to the works of Antonio Pietrangeli). In this way perhaps we will find another kind of “monstrosity”: female otherness, constantly looking for its (uncomfortable) position within movies that are unapologetic representations of the male gaze.","PeriodicalId":248976,"journal":{"name":"Schermi. Storie e culture del cinema e dei media in Italia","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122239184","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Sophia Loren. La speranza di vita dell'ultima diva italiana 索菲亚·罗兰(Sophia Loren)。意大利最后一位女歌手的预期寿命
Schermi. Storie e culture del cinema e dei media in Italia Pub Date : 2022-02-28 DOI: 10.54103/2532-2486/15400
Sara Pesce
{"title":"Sophia Loren. La speranza di vita dell'ultima diva italiana","authors":"Sara Pesce","doi":"10.54103/2532-2486/15400","DOIUrl":"https://doi.org/10.54103/2532-2486/15400","url":null,"abstract":"With the release of La vita davanti a sé (Edoardo Ponti, 2020, Netflix) a number of interviews and documentaries have appeared on YouTube. Netflix-sponsored promotional materials and fan-circulated documentaries or interviews celebrate the Diva of the past and of the present, sustaining an ideal of resilience also supported by the flourishing silver economy of the last decades. The film, on the other hand, catches us by surprise, showing Loren’s elderly body in a graphic way and revealing the impossibility to hide its decadence. Focusing on the cultural continuities between today’s imaginary and that of the shapely diva of the ‘50s and ‘60s, this essay investigates Ponti-Loren’s attempt to find a new perspective on the Diva in light of her 86 years. A fundamental contradiction between an assenting old age and a retrograde approach comes to the fore.","PeriodicalId":248976,"journal":{"name":"Schermi. Storie e culture del cinema e dei media in Italia","volume":"79 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123845992","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Divismo, maturità e politica sessuale negli "Hollywood film" di Anna Magnani 安娜·马格纳尼(Anna Magnani)的《好莱坞电影》(Hollywood film)中的分裂、成熟和性政治
Schermi. Storie e culture del cinema e dei media in Italia Pub Date : 2021-12-31 DOI: 10.54103/2532-2486/16462
Margarida Carnicé Mur
{"title":"Divismo, maturità e politica sessuale negli \"Hollywood film\" di Anna Magnani","authors":"Margarida Carnicé Mur","doi":"10.54103/2532-2486/16462","DOIUrl":"https://doi.org/10.54103/2532-2486/16462","url":null,"abstract":"In the 1950s Anna Magnani played an important role in the internationalization of European stardom, becoming the first Italian actress to win an Oscar in 1955. She was 46 years old and had reached international success at the age of 37. Related to the aesthetical concerns of Italian Neorealism, and considered a pioneer in modern representation of female psychology and desire, Magnani’s case puts into question the idea that, according to Edgar Morin, grace, beauty and youth are sine qua non conditions to become a star. Between 1955 and 1960 the actress participated in three Hollywood movies along with mentoring figures such as Tennessee Williams and producer Hal B. Wallis: The Rose Tattoo (Daniel Mann, 1955), Wild is the Wind (George Cukor, 1957) and The Fugitive Kind (Sidney Lumet, 1959). Magnani’s Hollywood films suggest a kind of tailor-made melodrama, concerned in documenting her unique performative style while Hollywood experiences a great renewal of dramatic patterns and acting models. These titles also share a common subject: a passionate mature woman in crisis who, attracted to a younger man, experiences a personal rebirth closely linked to the raise of her sexuality and desire. Through the analysis of these films and how they relate to Magnani’s stardom construction in the Italian postwar, this article investigates the role of the actress in the transit of the 1950s to the 1960s. A season of great transformations in world cinema in which Hollywood, apparently interested in documenting Magnani’s uniqueness, has probably ended up discussing some of the greatest taboos in classic movies: aging over women’s bodies, erotism between mature femininity and young masculinity, or the experience of sex and passion according to a female character who remains the subject of its own desire.","PeriodicalId":248976,"journal":{"name":"Schermi. Storie e culture del cinema e dei media in Italia","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130571803","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
«È l'arte che conta non l'età». "Aging", divismo e protagonismo femminile in "Siamo donne" “重要的是艺术，而不是年龄。”“我们是女人。”
Schermi. Storie e culture del cinema e dei media in Italia Pub Date : 2021-12-31 DOI: 10.54103/2532-2486/15391
M. Mereu
{"title":"«È l'arte che conta non l'età». \"Aging\", divismo e protagonismo femminile in \"Siamo donne\"","authors":"M. Mereu","doi":"10.54103/2532-2486/15391","DOIUrl":"https://doi.org/10.54103/2532-2486/15391","url":null,"abstract":"The film Siamo donne (We, the Women, 1953), written by Cesare Zavattini and divided into five episodes, represents an iconic case study to observe women of different ages and belonging to distinct generations. On the one hand, the first episode focuses on the ambitions of the young girls participating at the contest “Four stars and a starlet”; on the other hand, the following episodes, starring four celebrities playing the part of themselves, highlights the disillusions and regrets of mature women both in their private and professional life. Work, household, motherhood, and nostalgia are the main topics that interrelate with the portrayals of female aging provided by each episode. The film is a valuable opportunity to reflect upon the practices of cinema consumption and stardom in the 50s, especially from the contestants’ point of view. Throughout the analysis, we will also pay attention to voice over narration and the function of acousmatic voice as a memory device and expression of female subjectivity.","PeriodicalId":248976,"journal":{"name":"Schermi. Storie e culture del cinema e dei media in Italia","volume":"56 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114551491","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
"Stardom", "aging" e corporeità nel cinema italiano dei primi anni Ottanta. La ricezione di Stefania Sandrelli ne "La Chiave" di Tinto Brass 上世纪80年代初，意大利电影中的明星和演员。Stefania Sandrelli在Tinto Brass的“关键”中被接收
Schermi. Storie e culture del cinema e dei media in Italia Pub Date : 2021-12-31 DOI: 10.54103/2532-2486/15486
Gabriele Rigola
{"title":"\"Stardom\", \"aging\" e corporeità nel cinema italiano dei primi anni Ottanta. La ricezione di Stefania Sandrelli ne \"La Chiave\" di Tinto Brass","authors":"Gabriele Rigola","doi":"10.54103/2532-2486/15486","DOIUrl":"https://doi.org/10.54103/2532-2486/15486","url":null,"abstract":"\u0000\u0000\u0000\u0000This contribution deals with one of the most famous films by Tinto Brass, La chiave (1983), played by Stefania Sandrelli. The film represented for Sandrelli, who was thirty-seven years old at the time of film’s release, a turning point in her artistic parable. The contribution intends to reconstruct a part of the reception of the film to highlight how some discursive operations have been spread around the aged image of the diva. In addition, the question of aging will be explored in relation to the case of a celebrity like Sandrelli, accompanied from the very beginning of her career by reflections and speeches that consider aging ahead of time. Ultimately, the case of La chiave, through Sandrelli, will give the opportunity to reflect on the forms of reception of the issue of aging, in relation to the sexualization of female performers, in a specific context of the history of the representation of sexuality in Italy.\u0000\u0000\u0000\u0000","PeriodicalId":248976,"journal":{"name":"Schermi. Storie e culture del cinema e dei media in Italia","volume":"158 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127042437","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
«Le grandi tardone si difendono»: divismo, sessualità e rappresentazione della maturità femminile “美洲狮保护自己”:分裂、性和女性成熟的表现
Schermi. Storie e culture del cinema e dei media in Italia Pub Date : 2021-12-31 DOI: 10.54103/2532-2486/15385
Laura Busetta
{"title":"«Le grandi tardone si difendono»: divismo, sessualità e rappresentazione della maturità femminile","authors":"Laura Busetta","doi":"10.54103/2532-2486/15385","DOIUrl":"https://doi.org/10.54103/2532-2486/15385","url":null,"abstract":"This paper focuses on the relationship between cinematic stardom and aging, through the analysis of exemplary figures in in post-World War II Italy. Within a scenario in which sexualization pervades the entire media system, the decline of the star allows us to look at the female body as a mirror of transformations related to gender identities, new mass consumption, generational models, and social norms. \u0000Against this backdrop, the contribution analyses the public discourse on aging which emerges on the pages of the magazine «Oggi», looking particularly at the representation of two emblematic figures: Greta Garbo and Marlene Dietrich.","PeriodicalId":248976,"journal":{"name":"Schermi. Storie e culture del cinema e dei media in Italia","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114352057","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
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