{"title":"Soviet children’s film adaptations: Cipollino (1959–64)","authors":"Katarzyna Biernacka-Licznar","doi":"10.1386/jicms_00196_1","DOIUrl":"https://doi.org/10.1386/jicms_00196_1","url":null,"abstract":"This article investigates the reception of the Soviet film adaptations of Gianni Rodari’s Il romanzo di Cipollino ( Tale of Cipollino ) (1951), a book about the adventures of a clever and resourceful ‘little onion’ which was adapted to the screen several times in the Union of Socialist Soviet Republics (USSR). In the first part of the article, the genesis of Rodari’s book is recounted along with the reasons for its popularity with children. Subsequently, the article outlines the history of the adaptations of Tale of Cipollino in the USSR, which were not limited to literary rewritings, but also saw Rodari’s work transposed onto films and a ballet. Lastly, the article presents an analysis of the Soviet film productions with Cipollino as the protagonist: the animated film Rovno v 3:15 ( At 3:15 Sharp ) (Dezhkin and Migunov 1959), a feature animation ( Chipollino , ) and a filmstrip ( Chipollino , ).","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135945551","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}
{"title":"Italy‐Latin America: 100 years of cinema and media","authors":"F. Laviosa","doi":"10.1386/jicms_00119_2","DOIUrl":"https://doi.org/10.1386/jicms_00119_2","url":null,"abstract":"","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"10 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79372395","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}
{"title":"Popular actors’ comedy: Reception and influence, Italy‐Argentina","authors":"Lucía Rodríguez Riva","doi":"10.1386/jicms_00131_1","DOIUrl":"https://doi.org/10.1386/jicms_00131_1","url":null,"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\u0000 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\u0000 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\u0000 and reconfigurations of its procedures), as it also allows one to understand the way in which the represented worlds were projected to popular audiences.","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"11 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87360395","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}
{"title":"Is there no place like home? Women’s quest for their place in Maura Delpero’s cinema","authors":"Maria Letizia Bellocchio","doi":"10.1386/jicms_00122_1","DOIUrl":"https://doi.org/10.1386/jicms_00122_1","url":null,"abstract":"This article is the first academic study on the Italian filmmaker Maura Delpero and analyses her fiction film Hogar (Maternal) (2019) and documentaries Signori Professori (‘Professors’) (2008) and Nadea e Sveta (‘Nadea and Sveta’)\u0000 (2012). The three films are discussed individually and also through a comparative analysis that investigates the modes of filmic representation of the female search for a place in the world, thematic and stylistic recurring elements and dynamics between fiction and non-fiction filmmaking in\u0000 Delpero’s works. Discussion of Delpero’s films is augmented with the director’s own reflections on her work as expressed in an interview the article author conducted in May 2020.","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"7 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87648101","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}
{"title":"‘Lembi di patria di là dall’oceano’: Incom newsreels and emigration in Argentina","authors":"Massimiliano Gaudiosi","doi":"10.1386/jicms_00125_1","DOIUrl":"https://doi.org/10.1386/jicms_00125_1","url":null,"abstract":"This article investigates the ways in which the newsreel La Settimana Incom portrayed emigration in Argentina during the post-Second World War era, when Latin America opened its borders wide to European workers. At the end of the 1940s, the Italian government signed bilateral\u0000 agreements with Argentina and sponsored migratory practices ‐ a dramatic solution for widespread unemployment ‐ through an unprecedented promotional campaign. La Settimana Incom played a crucial role in this campaign: items on Argentina offer special insight into the rhetorical\u0000 methods used for the representation of emigration through the growth of a modern Italy. The main argument of this article is that by analysing La Settimana Incom ‐ and using some models proposed by Michail Bakhtin for this purpose ‐ an ideological ‘mission’\u0000 behind the attention paid to emigration, a topic previously identified with traditional Italian values, can be discerned.","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"202 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86997281","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}
{"title":"The Italian mission: Stories of a generation of Italian film and theatre directors in Brazil (1946‐69)","authors":"A. Vannucci","doi":"10.1386/jicms_00121_1","DOIUrl":"https://doi.org/10.1386/jicms_00121_1","url":null,"abstract":"The journey to Brazil undertaken by a generation of young Italian directors initiated a phase of artistic renewal in São Paulo during the 1950s. This article reveals the connections between the projects and theatre, television and cinema productions of some of the protagonists\u0000 of that extraordinary adventure by tracing the power plays that marked the period. As they understood, it was a time when one would believe in the possibility of implementing a modern theatre supported by the state and an art cinema, expected to be adored by a public and which still had to\u0000 be formed. These goals united a generation and motivated its migration to the other side of the Atlantic. It was a ‘mission’ based on the belief that the arts, especially the performing arts, should be tools for the democratic emancipation of the public and not just occasions for\u0000 its entertainment. Their tasks, illusions, disappointments and legacies are inscribed in plays and films, which I illustrate in this article.","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"31 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88501810","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}
{"title":"Amara terra mia/Io vado via: Cinema Italiano e canti della grande emigrazione del Novecento, Stefania Carpiceci (2020)","authors":"Diego Bonelli","doi":"10.1386/jicms_00114_5","DOIUrl":"https://doi.org/10.1386/jicms_00114_5","url":null,"abstract":"Review of: Amara terra mia/Io vado via: Cinema Italiano e canti della grande emigrazione del Novecento, Stefania Carpiceci (2020)Pisa: Edizioni ETS, 288 pp.,ISBN 978-8-84675-984-9, p/bk, €27.00","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78655892","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}
{"title":"The Cinema of Paolo Sorrentino: Commitment to Style, Russell J. A. Kilbourn (2020)","authors":"Allison Cooper","doi":"10.1386/jicms_00110_5","DOIUrl":"https://doi.org/10.1386/jicms_00110_5","url":null,"abstract":"Review of: The Cinema of Paolo Sorrentino: Commitment to Style, Russell J. A. Kilbourn (2020)New York: Columbia University Press, 231 pp.,ISBN 978-0-23118-993-4, p/bk, $30.00","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"143 3 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80996070","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}
{"title":"Posthuman identity and the human‐animal divide in Pier Paolo Pasolini’s The Hawks and the Sparrows and Pigsty","authors":"Enrica Maria Ferrara","doi":"10.1386/jicms_00100_1","DOIUrl":"https://doi.org/10.1386/jicms_00100_1","url":null,"abstract":"In this article, Ferrara puts forward the first analysis of Pier Paolo Pasolini’s films The Hawks and the Sparrows (1966) and Pigsty (1969) through the lens of posthumanist theory. She contends that by placing animal characters (raven and pigs) in close interaction\u0000 with humans, Pasolini encouraged viewers to explore and overcome the human‐animal divide. In doing so, he aimed to expose the faulty binary premises of Marxist ideology and construct a posthumanist identity that recognized the illusory separation between body and mind, and between the\u0000 human and its related others. Drawing on concepts such as Marchesini’s ‘mimesis’, Cronin’s ‘tradosphere’, Nancy’s ‘co-ontology’ and Braidotti’s ‘becoming animal’, this article shows how Pasolini considers an exit from\u0000 anthropocentrism and human exceptionalism via trans-species solidarity. Eventually, in Pigsty, animality turns into a metaphor for all alterity. As humans are silenced by pigs, a new powerful language of ‘otherness’ gives birth to the posthuman human.","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76110811","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}