Journal of Italian Cinema and Media Studies最新文献

{"title":"Lee Chang-dong","authors":"M. Raymond","doi":"10.1093/obo/9780199791286-0335","DOIUrl":"https://doi.org/10.1093/obo/9780199791286-0335","url":null,"abstract":"Lee Chang-dong, born in 1954 in Daegu, South Korea, came to the cinema after a career writing fiction, wanting to reach a large audience with his work and believing this was no longer possible using the written word. He began by working on two scripts for Korean New Wave director Park Kwang-su: Geu seome gago shibda (To the Starry Island) (1993) and Jeon Tae-il (A Single Spark) (1995). Soon, he would go on to make his first film as a writer-director, Chorok Mulgogi (Green Fish) (1997), part of a whole cohort of filmmakers (Hong Sang-soo, Kim Ki-duk, Park Chan-wook, Bong Joon-ho) who would remake the Korean film industry over the upcoming decades. Lee’s work is both distinctive among his Korean contemporaries, tending more toward realism in style even as he deals with the melodramatic plots required of mainstream cinema, while being more continuous with western art cinema humanism than cultish genre directors like Park and Bong or more minimalist stylists like Hong. His next film, Bakha Satang (Peppermint Candy) (1999), would establish Lee as an important voice, and although he would work slowly over the next coming decades, each new Lee film would mark an important event both in Korean cinema and, increasingly, in the global market as well. It was also at this time that western scholarly interest in Korean film begins to widely expand, and Lee’s movies were often an important touchstone for this work. In 2002, he released Oasis (2002), which competed at the Venice Film Festival, and then he made another change in his career direction, becoming the Minister of Culture and Tourism under the left-wing government of Roh Moo-hyun from 2003 to 2004. He returned to filmmaking in 2007 with his first literary adaptation, Milyang (Secret Sunshine), which won a Best Actress award for Jeon Do-yeon at the Cannes Film Festival. His next film, Shi (Poetry), was almost universally acclaimed and won the Best Screenplay award at Cannes, but then Lee took another sustained break from directing, although he did help produce some important films, such as July Jang’s Dohee-ya (A Girl at My Door) (2012) and Yoon Ga-eun’s Woori-deul (The World of Us) (2016). In 2018, he returned with his most unusual film to date, Burning, a (relatively) big-budget adaptation of a short story by Haruki Murakami. It won the International Critics Prize at Cannes and re-established Lee as one of the modern cinema’s master filmmakers.","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"144 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-08-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74902534","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":"Saturday Night Live","authors":"Peter C. Kunze","doi":"10.1093/obo/9780199791286-0334","DOIUrl":"https://doi.org/10.1093/obo/9780199791286-0334","url":null,"abstract":"Since the 1970s, Saturday Night Live has proven itself to be one of television’s most influential programs. Lorne Michaels created the show and served as executive producer from 1975 to 1980, then again from 1985 until the present; during his absence, Jean Doumanian oversaw the 1980–1981 season and Dick Ebersol produced the show from 1981 until Michaels’ return. Drawing on the variety format, Saturday Night Live provides a unique window into contemporary US culture with its popular guest hosts and musical guests, topical humor, and live presentation. Its wealth of characters and catchphrases has made its way into the popular lexicon, while its impact can be detected in live comedy performances, film, and new media, as well as other television programs. This bibliography loosely organizes the major critical works of Saturday Night Live scholarship and journalism into seven categories: studies of the show’s structure and style; critiques of how it has represented various identities; firsthand accounts by former performers and writers; historical analyses of the show’s development, production, and place within the television industry; examinations of its response to and influence on the news media; critical studies of key performers during the show’s run; and, finally, discussions of the show’s effect on US political discourse. The scholarship in this bibliography crosses many areas within communication and media studies, revealing the ongoing importance of the show to our understanding of comedy, politics, and television. Using satire and sketch comedy to both scrutinize and send up American society and culture, the show remains an enduring institution.","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"25 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-07-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75424585","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":"Alberto Cavalcanti: ‘Propaganda documentaries’","authors":"Luca Caminati, Michael Cramer","doi":"10.1386/jicms_00029_7","DOIUrl":"https://doi.org/10.1386/jicms_00029_7","url":null,"abstract":"","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"39 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89793496","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":"Archivio Storico Olivetti (Ivrea)","authors":"J. Carter","doi":"10.1386/jicms_00032_7","DOIUrl":"https://doi.org/10.1386/jicms_00032_7","url":null,"abstract":"","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"105 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80584502","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":"Pier Paolo Pasolini, Framed and Unframed: A Thinker for the Twenty-First-Century, Luca Peretti and Karen T. Raizen (eds) (2019)","authors":"Sergio Rigoletto","doi":"10.1386/jicms_00044_5","DOIUrl":"https://doi.org/10.1386/jicms_00044_5","url":null,"abstract":"Review of: Pier Paolo Pasolini, Framed and Unframed: A Thinker for the Twenty-First-Century, Luca Peretti and Karen T. Raizen (eds) (2019)\u0000New York: Bloomsbury, 273 pp.,\u0000ISBN 978-1-50132-889-3, p/bk, $98.00","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"2 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74338344","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":"Family stories in Italy and the United States: From Parenthood to Tutto può succedere","authors":"A. Natale","doi":"10.1386/jicms_00027_1","DOIUrl":"https://doi.org/10.1386/jicms_00027_1","url":null,"abstract":"This article provides an analysis of the TV series Tutto può succedere (‘Anything could happen’) (RAI 1, 2015–18), the Italian adaptation of the American format Parenthood (NBC, 2010–15). Assuming that every form of reproduction from an original text is always a ‘new story’, the main objective is to examine the narrative efficacy of the Italian adaptation both in terms of stylistic and expressive forms and cultural identity of the product. Through a qualitative analysis of the texts, I highlight the founding elements of the new story as compared to the original: a stronger enhancement of the family’s unity, an approach to everyday reality more in a private perspective and a cultural reworking of the female characters. I argue that Tutto può succedere is an effective adaptation, since it succeeds in giving the story a specific Italian identity (the value of family and motherhood), and in taking from Parenthood innovative forms of storytelling with respect to the Italian narrative tradition.","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"20 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87621446","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":"Asmarina, Alan Maglio and Medhin Paolos (dirs) (2015), Italy: Alan Maglio and Medhin Paolos, in collaboration with Docucity – Documenting the City","authors":"E. Sammartino","doi":"10.1386/jicms_00039_5","DOIUrl":"https://doi.org/10.1386/jicms_00039_5","url":null,"abstract":"","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83030981","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":"Behind the White Glasses, Valerio Ruiz (dir.) (2015), Italy: White Glasses Production and Recalcati Multimedia","authors":"V. Signorelli","doi":"10.1386/jicms_00038_5","DOIUrl":"https://doi.org/10.1386/jicms_00038_5","url":null,"abstract":"","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"61 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86029958","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":"Daitona: Meet the most innovative Italian production company","authors":"V. Signorelli","doi":"10.1386/jicms_00037_7","DOIUrl":"https://doi.org/10.1386/jicms_00037_7","url":null,"abstract":"Founders Lorenzo Lazzarini (b.1993), Valentina Signorelli (b.1989) and Lorenzo Giovenga (b.1989) created Daitona on 26 February 2016. Thanks to their unprecedented transmedia approach, in 2018 Daitona won the ANGI Award - Associazione Nazionale Giovani Innovatori (National Association Young Innovators) as the most innovative production company of the year. The company has produced a variety of successful projects, including, but not limited to short and feature films, documentaries, web video contents commercials, advertising campaigns, branded TV shows and even VR experiences!","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"100 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76243724","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":"Gillo Pontecorvo Collection (1937–2009)","authors":"Carla Ceresa","doi":"10.1386/jicms_00031_7","DOIUrl":"https://doi.org/10.1386/jicms_00031_7","url":null,"abstract":"","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"219 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90942989","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}