Journal of Italian Cinema and Media Studies最新文献

{"title":"Hayao Miyazaki","authors":"R. Greenberg","doi":"10.1093/obo/9780199791286-0337","DOIUrl":"https://doi.org/10.1093/obo/9780199791286-0337","url":null,"abstract":"Japanese animator Hayao Miyazaki (b. 1942) is arguably the most admired figure of Japan’s postwar animation industry (commonly known as anime). Deeply moved in his youth by his country’s first color feature-length animated film Hakujaden (Panda and the Magic Serpent, 1958, directed by Taiji Yabushita), Miyazaki decided to seek a career in animation after receiving his BA degree in politics and economy. Most of his output during the first sixteen years of his work as an animator consisted of working on other directors’ films and television shows. Miyazaki made his directorial debut, sharing credit and duties with his colleague Isao Takahata, on the television series Rupan Sansei (Lupin the Third, 1971–1972), an adaptation of a popular manga (comics) series about the exploits of a daring thief. The year 1979 saw the release of Miyazaki’s feature-length debut Rupan Sansei: Kariosuturo no Shiro (Lupin the Third: The Castle of Cagliostro), a spin-off of the television series, which gained attention for its spectacular action sequences. His second feature, Kaze no Tani no Naushika (Nausicaä of the Valley of the Wind, 1984), a theatrical feature adaptation of his own long-running manga series about the quest of a pacifist princess to save a war-torn world destroyed in an environmental apocalypse, hailed for its beautiful animation, design, and environmental subtext. The success of Nausicäa of the Valley of the Wind led to the foundation of Studio Ghibli, under the creative management of Miyazaki and Takahata. A string of critically acclaimed works solidified his position as a leading director in Japan’s animation industry: the Victorian-flavored adventure Tenkū no Shiro Rapyuta (Castle in the Sky, 1986), the nostalgic children’s fantasy Tonari no Totoro (My Neighbor Totoro, 1988), the coming-of-age fantasy Majo no Takkyūbin (Kiki’s Delivery Service, 1989) and the historical comedy-adventure Kurenai no Buta (Porco Rosso, 1992). At the turn of the century, Miyazaki directed the acclaimed historical fantasy Mononoke Hime (Princess Mononoke, 1997) and the modern-day fantasy Sen to Chihiro no Kamikakushi (Spirited Away, 2001), and each became the highest-grossing film in the history of Japanese cinema, an evidence of the important position that Miyazaki has achieved in Japan’s postwar culture. Spirited Away also won the Academy Award for Best Animated Feature in 2002. Miyazaki’s later films in the 21st century met with a more mixed reception. Hauru no Ugoku Shiro (Howl’s Moving Castle, 2004), Gake no Ue no Ponyo (Ponyo, 2008), and Kaze Tachinu (The Wind Rises, 2013) were praised for their visuals, but came under criticism for their narrative qualities. The ongoing debate as to who is going to be Miyazaki’s successor as Japan’s leading animator demonstrates the deep cultural influence that his work continues to have on other animators and filmmakers.","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"5 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-10-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88089314","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":"Breaking Bad","authors":"David P. Pierson","doi":"10.1093/obo/9780199791286-0336","DOIUrl":"https://doi.org/10.1093/obo/9780199791286-0336","url":null,"abstract":"Breaking Bad is an American television crime dramatic series created and developed by Vince Gilligan. The series aired on AMC cable channel from 20 January 2008 to 29 September 2013 and reflected American middle-class anxieties during the period of the Great Recession (2007–2009). Many TV critics consider Breaking Bad to be one of the best television series of all time. Breaking Bad tells the story of Walter White (Bryan Cranston), a put-upon, underpaid high school chemistry teacher, who upon learning that he has stage 3 lung cancer decides to begin making and selling crystal methamphetamine with Jesse Pinkman, a former student, to secure his (White’s) family’s financial future. The series title is derived from a southern US colloquialism, “breaking bad,” which signifies a person who has decided to follow a life of crime or immorality. Gilligan has described White’s character transformation as being from the reserved schoolteacher Mr. Chips to the brutal drug lord Scarface. The series is set in Albuquerque, New Mexico. The program’s recurrent images of wide-open western vistas, deserts, and rugged outlaws have led some critics to label the series a modern neo-western. The show has fostered a strong audience following that has allowed Gilligan and AMC to produce the spin-off, prequel series Better Call Saul in 2015 and a sequel film, El Camino: A Breaking Bad Movie, released on Netflix and select theaters in 2019. Sony Entertainment Television produced a Spanish-language version of the series, titled Metástasis, in 2014. Breaking Bad has served as fodder for important scholarship in media studies, cultural studies, and film and television studies. Scholars have focused their work on a range of topics, including Disability and Impairment, Economics and Social Class, Gender, Genre and Narrative, Pedagogy, Production Culture, Race and Ethnicity, and Science.","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"20 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-09-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77014460","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":"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}