Italianist最新文献

{"title":"Editorial","authors":"Danielle E. Hipkins, Elena Past, M. Seger","doi":"10.1080/02614340.2022.2156247","DOIUrl":"https://doi.org/10.1080/02614340.2022.2156247","url":null,"abstract":"As we send this issue off to press we note that the circumstances which made the previous Film Issue, along with publishing at large and of course life in general, so very particular, have not entirely disappeared. The COVID pandemic is still with us and certain parts of our social and work lives still unfold via virtual formats, while other experiences have brought us back face to face. As we gathered again this past summer for conferences, symposia and the collective viewing of outdoor cinema, we wondered which habits formed during these pandemic years might remain and, as scholars of media, how they may have permanently transformed production, viewing, and distribution practices. The idea of transformative practice – academic, social, artistic – is a current that runs through many of the pieces in this issue. The opening dossier, by Simone Brioni, Caterina Romeo, Rachel Johnson, and Linde Luijnenburg, builds in exciting ways on last year’s Film Issue focus topic, collaboration. The four articles describe, frame, and contextualise the making of a translingual, transcultural documentary film titled Maka. The film, a hybrid of academic scholarship and creative filmmaking, is partially a reflection on Italian Cameroonian writer and scholar Geneviéve Makaping’s life, and partially a theoretical reflection inspired by her book Traiettorie di sguardi: E se gli altri foste voi? (2001). It was conceived by Brioni in conversation with Makaping, and then created with a collaborative team that included director Elia Moutamid and producers Graziano Chiscuzzu and Ermanno Guida. The four articles published here, which are described in greater detail in the abstract that opens the section, include an analysis of Traiettorie di sguardi (Romeo), an account of the theoretical and productive origins of the documentary (Brioni), a look at the philosophies that guided its production (Johnson), and a piece situating the work of director Moutamid (Luijnenburg). The dossier itself, whose creation saw the four authors in dialogue, becomes another piece of the collaborative puzzle that seeks to find structures and voices for an anti-racist, decolonial Italian studies. Like other recent work published in The Italianist Film Issue on collaborative scholarship and editorial work, videographic criticism, and environmental criticism, this section suggests the urgency – but also the creativity and good faith – with which scholars are seeking new audiences, new formats, and new analytical tools adequate to address critically important issues in contemporary Italy. The issue also features a rich set of open theme articles. Wide-ranging in topic, they can be linked by intersecting explorations of corporality, gender, (trans)national cultures and boundaries. Lora Jury examines the depiction of women as both economic and cultural capital in films of the economic boom period. Focusing on frequent visual citation of the Esso oil company logo in films such as La Romana (Luigi Zampa, ","PeriodicalId":42720,"journal":{"name":"Italianist","volume":"42 1","pages":"185 - 186"},"PeriodicalIF":0.0,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49261140","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 Three Layers of Elia Moutamid’s Cinema","authors":"Linde Luijnenburg","doi":"10.1080/02614340.2022.2129526","DOIUrl":"https://doi.org/10.1080/02614340.2022.2129526","url":null,"abstract":"ABSTRACT In this article, the author proposes three layers of film analysis and spectatorship in order to discuss film director Elia Moutamid's oeuvre. The first layer refers to the filmic texts (plots and aesthetics), the second situates the films in their socio-historical and cinematographic contexts, and the third layer relates the films to Plato's simile of the cave, establishing their philosophical quality. The author argues that the interrelation between these various layers attests to the refinement of Moutamid's cinematic production.","PeriodicalId":42720,"journal":{"name":"Italianist","volume":"42 1","pages":"220 - 228"},"PeriodicalIF":0.0,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42106632","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":"On the Making of Maka: Collaborative Practices, Autotheory, and Diversity","authors":"Simone Brioni","doi":"10.1080/02614340.2022.2129489","DOIUrl":"https://doi.org/10.1080/02614340.2022.2129489","url":null,"abstract":"ABSTRACT This article draws on Mieke Bal's reflections about the use of the documentary film as a way to explore migration cultures from a scholarly perspective, and it chronicles the production of Maka (2022), a film about Geneviève Makaping's life and thoughts on race and belonging. It focuses on the collaboration and dialogue with Makaping and director Elia Moutamid, among other members of the creative team, and it argues that collaboration and dialogue can have an impact beyond the academic context. Indeed, Maka is a hybrid work that blends theory and biographical storytelling, and it is therefore accessible to a larger audience. Documentaries involve self-reflective practices which might be useful to interrogate our position throughout the research process and to reflect upon the ethical questions which are involved in scholarly work about migration cultures.","PeriodicalId":42720,"journal":{"name":"Italianist","volume":"42 1","pages":"197 - 210"},"PeriodicalIF":0.0,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48346870","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":"Producing Maka: Hybridisation and Dialogue in Academic Filmmaking","authors":"Rachel Johnson","doi":"10.1080/02614340.2022.2090063","DOIUrl":"https://doi.org/10.1080/02614340.2022.2090063","url":null,"abstract":"ABSTRACT Academic filmmaking has become a rich area of practice and inquiry, driving debates about academic rigour, affect, social impact, and knowledge production. While scholars have increasingly sought to expand their practice beyond strict, ‘academic' modes of filmmaking, little attention has been paid to the ways diverse approaches to film production may also offer opportunities for creative practice that extends beyond the academy. This article explores the production model underpinning Maka, a documentary biopic of Geneviéve Makaping and product of intensive collaboration between academic and industry-based filmmakers. Drawing on interviews with the film's producers, Graziano Chiscuzzu and Ermanno Guida, I explore Maka's status as a hybrid film, a dialogic project in which multiple positions and voices intersect. I trace the filmmakers’ negotiation of funding and prestige – from university grants to legitimation at film festivals – as well as their use of techniques such as retroscripting to cultivate a dialogic filmmaking process. I also discuss the ethos of social commitment that appears to unite both academic and documentary filmmaking, and explore avenues for expanding and measuring social impact through film distribution. I conclude that Maka offers an important case study of academic-industry hybridization, permitting further interrogation of the boundaries between the two spheres.","PeriodicalId":42720,"journal":{"name":"Italianist","volume":"42 1","pages":"211 - 219"},"PeriodicalIF":0.0,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44245986","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 Ultimate Freedom? Suicide as ‘Exit Strategy’ in Marco Bellocchio’s Il regista di matrimoni (2006) and Sorelle Mai (2010)","authors":"S. Angeli","doi":"10.1080/02614340.2021.2010020","DOIUrl":"https://doi.org/10.1080/02614340.2021.2010020","url":null,"abstract":"ABSTRACT This article examines the portrayal of suicide in two films by Marco Bellocchio, Il regista di matrimoni (2006) and Sorelle Mai (2010). I first suggest that voluntary death represents in Bellocchio's work an ‘exit strategy' that allows his characters to overcome an existential and ideological deadlock. I then turn to the implications of such a radical gesture, situating it within the millennia-old debates surrounding the topic of suicide. Finally, I examine the two case studies, teasing out their cultural, social, and political significance. In Il regista di matrimoni, the character's suicide is targeted at disrupting the clientelist system governing Italian cultural life. In Sorelle Mai, the suicidal character opts instead for a spectacular self-sacrifice, for an ending that is also a return to his origins. Overall, in Bellocchio’s films, suicide comes to be a locus of tension and resolution, a marriage of opposite impulses marked by ambiguity and undecidability.","PeriodicalId":42720,"journal":{"name":"Italianist","volume":"42 1","pages":"229 - 245"},"PeriodicalIF":0.0,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44415201","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":"Putting the Blame Where It Belongs: Baby as a Turning Point for Representations of Active Female Sexuality","authors":"Daniel Paul","doi":"10.1080/02614340.2022.2075102","DOIUrl":"https://doi.org/10.1080/02614340.2022.2075102","url":null,"abstract":"ABSTRACT Recent studies on female sexuality evidence the ways in which the term ‘slut’ is gendered and used primarily to police sexually active women, by men and, surprisingly, women. The commedia all’italiana Sedotta e abbandonata (Pietro Germi, 1964) and the US-based Netflix series 13 Reasons Why (Brian Yorkey, 2017–2020) depict slut shaming and show how the consequent lack of solidarity between women helps protect unbridled male sexuality. Italy’s second Netflix original series Baby (Andrea De Sica and others, 2017–2020), however, resists this tendency and ultimately holds men accountable for their exploitation of women, specifically through the reinforcement of what I term the gynosocial bond, or the bond between women. In this article, then, I argue that this emphasis on female solidarity helps normalise – rather than penalise – active female sexuality and that by so doing, Baby represents a potential turning point towards more positive depictions of female sexualities.","PeriodicalId":42720,"journal":{"name":"Italianist","volume":"42 1","pages":"303 - 314"},"PeriodicalIF":0.0,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48783436","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":"La competenza dialettale fra diacronia e sincronia: Un’esperienza didattica sulla comprensione odierna del lessico del napoletano seicentesco de Lo cunto de li cunti di Giovan Battista Basile","authors":"L. Marano","doi":"10.1080/02614340.2022.2093459","DOIUrl":"https://doi.org/10.1080/02614340.2022.2093459","url":null,"abstract":"SOMMARIO Questo lavoro è il risultato di un laboratorio tenuto in una classe liceale di Pozzuoli in provincia di Napoli, con lo scopo di escutere quanto dei soggetti giovani che si auto-percepiscono come parlanti napoletano riuscissero a comprendere di un testo dialettale del Seicento – la novella ‘La gatta Cenerentola’ tratta da Lo cunto de li cunti di Giovan Battista Basile – e di capire quali parole fossero più note ai ragazzi e quali meno. Agli studenti è stato chiesto di classificare i vocaboli contenuti nella novella in base a categorie legate a uso e conoscenza. È emerso che la maggior parte dei lessemi è relativamente nota al campione, per quanto non sia sempre facile stabilire che significato venga attribuito alle parole che hanno presentato slittamento semantico nel corso del tempo. Articoli e pronomi sono risultati come gli elementi più noti, mentre necessitano alcune osservazioni i nomi e i verbi, a causa della maggiore polimorfia a cui sono sottoposti.","PeriodicalId":42720,"journal":{"name":"Italianist","volume":"42 1","pages":"139 - 152"},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46239200","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":"Immagini e criminalità nell’Italia di fine secolo tra stampa, letteratura e scienza","authors":"Stefano Serafini","doi":"10.1080/02614340.2022.2062948","DOIUrl":"https://doi.org/10.1080/02614340.2022.2062948","url":null,"abstract":"ABSTRACT This article investigates the dissemination of the criminal image in fin-de-siècle Italy within three different discursive areas – crime news, the popular novel, and criminological science – with a view to unveiling the complex, and often contradictory, role played by visual culture in the re-elaboration and popularisation of ideas, concepts and perceptions concerned with crime and its ambiguous nature. The image, as I intend to show, complicates and subverts traditional interpretations regarding the contribution made by crime literature and the popular press to the reconfiguration of the very idea of delinquency and to the identification of new instruments to understand it and control it. This article ultimately provides a much more complex and nuanced scenario than generally acknowledged by scholars that necessarily invites further analysis.","PeriodicalId":42720,"journal":{"name":"Italianist","volume":"42 1","pages":"1 - 23"},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44890457","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":"‘In Between’ Ethnic Heritage and Italian Identity: The Global Hip-Hop of Mahmood and Ghali","authors":"Lisa Dolasinski","doi":"10.1080/02614340.2022.2062935","DOIUrl":"https://doi.org/10.1080/02614340.2022.2062935","url":null,"abstract":"ABSTRACT This article contributes to broader debates about transcultural practices of social acceptance in contemporary Italy. Second-generation musicians Mahmood and Ghali utilise elements of global hip-hop to construct ‘in between’ identities that are representative of Italy’s increasingly diverse youth generation. Both young men hail from immigrant parents, absentee fathers, and urban poverty. Rather than attempt to minimise these purportedly unsavoury qualities, Mahmood and Ghali accentuate their multiethnic heritages in their music and artistic philosophies. By sharing their experiences of navigating ethnic heritage and Italian identity, these musicians not only invalidate xenophobic policies of belonging and national homogeneity, but also cultivate an image of authenticity that resonates with the diverse youth that mirror, and will ultimately shape, the future of Italy.","PeriodicalId":42720,"journal":{"name":"Italianist","volume":"42 1","pages":"119 - 138"},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43234363","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":"Levi’s Limbo: Dante in Primo Levi’s Vizio di forma","authors":"Akash Kumar, Francesco Samarini","doi":"10.1080/02614340.2022.2062942","DOIUrl":"https://doi.org/10.1080/02614340.2022.2062942","url":null,"abstract":"ABSTRACT In this article, we draw attention to the expansive and crucial presence of Dante in two particular stories of Primo Levi’s Vizio di forma, the linked tales ‘Lavoro Creativo’ and ‘Nel Parco’. These stories imagine an idyllic afterlife realm for famous literary characters, and so are of course ripe for reading through the lens of Dante’s Limbo. But we argue that there is still more to be found by expanding the scope of our inquiry to more of the Commedia, particularly in considering the dynamic between souls in Dante’s Purgatory and Levi’s appreciation of the scientific aspects of Dante’s writings. Such a move allows for a fuller appreciation of the relationship between Primo Levi and Dante, showing how the Turinese writer creates a unique space for himself through his acts of rewriting, appropriating, and adapting Dante.","PeriodicalId":42720,"journal":{"name":"Italianist","volume":"42 1","pages":"84 - 103"},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41873522","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}