Journal of Italian Cinema and Media Studies最新文献

{"title":"Lina Wertmüller Symposium: A report, 13 December 2019, University of Westminster","authors":"S. Angeli, Cecilia Zoppelletto","doi":"10.1386/jicms_00033_7","DOIUrl":"https://doi.org/10.1386/jicms_00033_7","url":null,"abstract":"","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"2018 12","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72538495","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":"Migration and the Media: Debating Chinese Migration to Italy, 1992–2012, Gaoheng Zhang (2019)","authors":"M. Carolan","doi":"10.1386/jicms_00043_5","DOIUrl":"https://doi.org/10.1386/jicms_00043_5","url":null,"abstract":"Review of: Migration and the Media: Debating Chinese Migration to Italy, 1992–2012, Gaoheng Zhang (2019)\u0000Toronto: University of Toronto Press, 296 pp.,\u0000ISBN 978-1-44263-043-7, h/bk, $70.00","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"94 7","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72565305","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":"È stata Roma: La criminalità capitolina dal ‘poliziottesco’ a Suburra, Matteo Santandrea (2019)","authors":"D. Renga","doi":"10.1386/jicms_00046_5","DOIUrl":"https://doi.org/10.1386/jicms_00046_5","url":null,"abstract":"Review of: È stata Roma: La criminalità capitolina dal ‘poliziottesco’ a Suburra, Matteo Santandrea (2019)\u0000Catanzaro: Rubbettino Editore, 212 pp.,\u0000ISBN 978-8-84985-770-2, p/bk, €16.00","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":"88559101","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":"From the margins: Alice Rohrwacher’s liminal adolescents","authors":"S. Angeli","doi":"10.1386/jicms_00026_1","DOIUrl":"https://doi.org/10.1386/jicms_00026_1","url":null,"abstract":"To date, adolescents have occupied prominent positions in all three of Alice Rohrwacher’s feature films – from her debut Corpo celeste (Heavenly Bodies) (2011a), to the critically acclaimed Le meraviglie (The Wonders) (2014) and, finally, to her latest work Lazzaro felice (Happy as Lazzaro) (2018). Being neither children nor adults, teenagers inhabit a biologically and ideologically ambiguous position within society, a precarious collocation that has often been referred to as ‘liminal’. In her films, Rohrwacher enhances her characters’ inherent liminality by (dis-)placing them, both physically and metaphorically, at the margins of society. However, it is their spatial and social exclusion and their position of subordination to power that allows them to identify alternative behaviours that oppose the dominant ideology within their social environments. Making use of the notions of marginality and liminality, this article explores the implications of the director’s employment of adolescent characters to critique Italian mainstream society.","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"12 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74013965","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":"L’età dello schermo panoramico: Il cinema italiano e la rivoluzione widescreen, Federico Vitella (2018)","authors":"Brendan Hennessey","doi":"10.1386/jicms_00042_5","DOIUrl":"https://doi.org/10.1386/jicms_00042_5","url":null,"abstract":"Review of: L’età dello schermo panoramico: Il cinema italiano e la rivoluzione widescreen, Federico Vitella (2018)\u0000Pisa: Edizioni ETS, 214 pp.,\u0000ISBN 978-8-84675-445-5, p/bk, €20.00","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"15 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74997504","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":"Giovanni Calendoli Collection","authors":"Michela Zegna","doi":"10.1386/jicms_00030_7","DOIUrl":"https://doi.org/10.1386/jicms_00030_7","url":null,"abstract":"","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"47 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90964862","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":"Il brand Gomorra: Dal romanzo alla serie TV, Giuliana Benvenuti (2018)","authors":"Iuri Moscardi","doi":"10.1386/jicms_00041_5","DOIUrl":"https://doi.org/10.1386/jicms_00041_5","url":null,"abstract":"Review of: Il brand Gomorra: Dal romanzo alla serie TV, Giuliana Benvenuti (2018)\u0000Bologna: Il Mulino, 208 pp.,\u0000ISBN 978-8-81527-433-5, p/bk, €19.00","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"3 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88404281","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":"Remaking national identity: Postcolonial discourses at the intersection of gender and race in Tutto può succedere","authors":"E. Sammartino","doi":"10.1386/jicms_00025_1","DOIUrl":"https://doi.org/10.1386/jicms_00025_1","url":null,"abstract":"In the context of global migrations, ‘new Italians’ have emerged in a group of mainstream TV series, among which Tutto può succedere (‘Anything can happen’) (RAI 1, 2015–18) stands out as the remake of the American Parenthood. This article argues that this process of cultural translation reveals tensions over the negotiation of national identity in Italian society, due to recent migrations and the submerged colonial past. Through the adoption of an intersectional approach, the analysis of the interracial relationship between Feven, an Eritrean-born woman, and Carlo will highlight that the postracial discourses underlying Parenthood are superseded by postcolonial ones in the remake. I demonstrate that the Othering of Feven through sexualization and exoticization exposes the persistence of colonial stereotypes. However, the displacement of race onto gender preoccupations through the prism of postfeminism highlights the attempted ‘normalization’ of the Other, further engaging with the specificities of the Italian context through its association with religion.","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"238 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75845972","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":"L’alleato (The Ally), Elio Di Pace (dir.) (2019), Italy: Centro Sperimentale di Cinema","authors":"Ellen Nerenberg","doi":"10.1386/jicms_00036_5","DOIUrl":"https://doi.org/10.1386/jicms_00036_5","url":null,"abstract":"","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"110 ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72431351","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":"Luchino Visconti","authors":"B. Hennessey","doi":"10.1093/obo/9780199791286-0330","DOIUrl":"https://doi.org/10.1093/obo/9780199791286-0330","url":null,"abstract":"Luchino Visconti (b. 1906–d. 1976) was one of Italy’s foremost directors of cinema, theater, and opera. A cultural figurehead of the Italian Communist Party (PCI), Visconti was seen as a major cinematic interpreter of the Italian Hegelian-Marxist philosopher Antonio Gramsci. To this political affiliation, one can also attach his upbringing as a Milanese nobleman and background as a gay man that would also influence interpretations of his films. Following a tutelage under French director Jean Renoir on films Une partie de campagne (1936) and Tosca (1940), Visconti inaugurated his own career in cinema with Ossessione (1942), the presumptive first film of Italian neorealism when directors in Italy turned their attention to the plight of the commoner, struggling in the wake of the Fascist dictatorship and the Second World War. Ossessione was followed by neorealist landmarks La terra trema (1948) and Bellissima (1951), and a few years later, the neorealist-inspired Rocco e i suoi fratelli (1960). These films introduced the conflux of realism, formalism, and melodrama for which Visconti’s cinema would be subsequently associated. Such characteristics were also evident in his parallel career on the Italian stage, where Visconti established himself as one of the nation’s pre-eminent directors of prose theater and opera. This activity on stage would contribute to Visconti’s reputation for working across media. In his cinema, structures from and allusions to theater, painting, and literature abound. Twelve of his eighteen films were based on one or more literary works, with Morte a Venezia (1971) celebrated as a groundbreaking chapter in European literary adaptation. His 1967 film, Lo straniero (1967), on the other hand, was panned for its slavish illustration of Camus’s book. To these and other literary-inspired works, Visconti added a few documentaries and numerous films set in contemporary Italy (episodes of Anna Magnani [1953] and Il lavoro [1961]; Le notti bianche [1957]; Vaghe stelle dell’Orsa [1965]) together with some of the largest-scale historical films in postwar European cinema. Senso (1954) and Il Gattopardo (1963) instantiate historiographically-rich analyses of Italian independence in the late 19th century. The biopic Ludwig (1974) is set in Bavaria during the same period, while La caduta degli dei (1969) pictures the rise of Nazism in Germany of the 1930s. During the filming of Ludwig, Visconti suffered a stroke that would cast a pall over Gruppo di famiglia in un interno (1974) and the posthumous L’Innocente (1976), an ornate tragedy based on a novel by Gabriele D’Annunzio.","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"8 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-04-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85381177","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}