A Companion to Italian Cinema by Burke, Frank -- Read -- Imperial Library of Trantor

Index

Cover Title Page Table of Contents Acknowledgments Notes on Contributors Editor’s Notes Glossary Preface and In Memoriam Part I: First Things

1 Introduction

Italian Cinema and (Very Briefly) Visual Culture Contributors and Aims of This Volume The Contents of the Companion “Metathemes” Italian Cinema as Other References

2 Italian Cinema Studies

References

Part II: Historical/Chronological Perspectives

Silent Cinema 3 Silent Italian Cinema

Before 1905: Films about Italy Domestic Production Arte Muta, Dive, and Auteurs Vernacular Realism The Great War and Beyond Film Discourse References

4 Stardom in Italian Silent Cinema1

Introduction Terminology The Birth of Divismo The Dive, and the Diva Film The Divo References

Fascism and Italian Cinema 5 Genre, Politics, and the Fascist Subject in the Cinema of Italy (1922–1945)1

Industrial and Political Efforts to Create a Popular Film Industry Refashioning Genres: Directors and the Comedy Comedy and Stardom The Forms of Melodrama History, Politics, and Myth: Luis Trenker and Alessandro Blasetti Melodrama and Stardom Calligraphism: Melodrama, Formalism, and War Afterthoughts References

The Italian Film Industry 6 Staying Alive

References

Cinema and Religion 7 Italian Cinema and Catholicism: From Vigilanti cura to Vatican II and Beyond

Introduction First Stage: Art or Morality? Second Stage: Catholic Production Third Stage: The “Folly” of the “Povericristi” Fourth Stage: Toward the Second Vatican Council and Beyond References

Neorealism 8 The Italian Neorealist Experience

Introduction Rossellini’s (Anti‐)War Trilogy De Sica’s Subversive Orphan Children The Italian Neorealist Experience: Beyond Camps References

9 Italian Neorealism

Introduction Initial Observations on Neorealism Italian Neorealism Beyond the First Years Multiple Directions of Influence Roma città aperta and Ladri di biciclette: Echoes, Parallels, Influence The Most Quotidian Story, an Epilogue References

Stardom and the 1950s 10 Italian Female Stars and Their Fans in the 1950s and 1960s1

Introduction Italian Fan Studies Methodology The Peculiarity of Fandom in Italy The Magazines The Place of Fan Mail in the Stars’ Relationship with Their Fans The Fans’ Relationships to the Stars Conclusion References

Film Comedy—the 1950s and Beyond 11 The Popularity of Italian Film Comedy1

From Early Italian Comedy to the Hunger and Harmony of Pink Neorealism Toward commedia all’italiana: Spectacle, Masks, Totò, and Sordi The Economic Miracle and commedia all’italiana After the “Boom”: The 1970s and Beyond What’s So Funny? References

12 The Question of Italian National Character and the Limits of Commedia all’italiana

Cinema and Social Commentary The Sordi Persona and Italian Modernity Fellini and National Vices and Virtues Carlo Lizzani and the Cinema of History and Actuality Conclusion References

French‐Italian Film Collaborations into the 1960s 13 Cross‐Fertilization between France and Italy from Neorealism through the 1960s1

Before Neorealism Neorealism between France and Italy The Case of Rossellini De Sica and Zavattini Coproductions The 1960s The Nouvelle Vague and New Italian Cinema of the 1960s New Theoretical Perspectives References

Auteur Cinema (1960s and 1970s) 14 Italian 1960s Auteur Cinema (and beyond)

Theoretical Introduction Visconti, Popular Auteur Antonioni, the Modern Auteur Par Excellence Fellini, from the “World Text” to the “Self Text” From Modern to Postmodern Auteur References

Popular Film Genres (1950s to 1970s) 15 Italian Popular Film Genres1

The Peplum The Spaghetti Western Italian Horror The Poliziottesco Conclusion References

Politics and/of Terrorism (1960s to the Present) 16 The Representation of Terrorism in Italian Cinema

The Warning Signs Genre Cinema and the Affairs of State The Auteurs’ Disorientation The 1980s: Between the Political and the Individual Spheres A Rendering of Accounts: The 1990s The New Millennium: “Vintage” and Revival References

Italian Cinema from the 1970s to the Present 17 From Cinecittà to the Small Screen

Prologue Introduction The End of the “Golden Age” The April 7 Trial Politics and Economy of the Intimate Screen 1968: “Like Polaroids” How to Make a Movie in Time of Crisis Conclusion References

18 Contemporary Italian Film in the New Media World1

References

Part III: Alternative Film Forms

19 Thinking Cinema

The Origins and Development of the Essay Film Essayist Nonfiction Today References

20 Italian Experimental Cinema

Sandra Lischi Avant‐garde, Independents, Experimentalists: A Premise The Italian Panorama: From the Futurists Onward The 1960s and Beyond Boundary Crossings: Pathways in Artist Cinema Alchemies, Memory, History Animations, Research, Theater The Passage to Video References

21 Notes on the History of Italian Nonfiction Film1

Beginnings Italian Documentary after World War II References

Part IV: Critical, Aesthetic, and Theoretical Issues

22 A Century of Music in Italian Cinema1

The Sound of Silence (1896–1930) It’s Time to Sing a Song (1930–1945) Reconstructing the Country: The “Liberation” of Film Music (1945–1960) Specialists and Film Genres (1960–1980) The Auteur Is Dead, Long Live the Auteur (1980–2010) References

23 The Practice of Dubbing and the Evolution of the Soundtrack in Italian Cinema

Celluloid Hybrids and Greta Garbo Patrolling the Soundtrack The Visual Regime of Cinema Crafting Sound in National Cinema Antonioni and the New Sound of Cinema Listening to Make Sense References

24 Watching Italians Turn Around

Rome’s Awkward Modernity Looking (for Love) in the Neorealist City Seeing What Is and Is Not There Conclusion (Looking and Seeing) References

25 Women in Italian Cinema

From the Silent Era to Fascism The Post–World War II Period From the 1980s to the End of the Twentieth Century The Third Millennium Conclusion References

26 Imagining the Mezzogiorno

Preface The Sociohistorical Mezzogiorno: A Theoretical Framework Filmic Representations of the Mezzogiorno, Part 1: Until 1989 Filmic Representations of the Mezzogiorno, Part 2: After 1989 References

27 The Queerness of Italian Cinema1

Introduction Queer Cinemas Queering Italians The Queer Signature The New Queer Cinema References

28 An Accented Gaze

References

29 How to Tell Time

Crisis in the Action‐Image The Crystals of Time Pasolini and Free Indirect Discourse Time, Thought, and Body References

30 The Screen in the Mirror

The Concept of Reflexivity The Postmodern Gaze A Classic Spectacle of Modernity Cinema’s Modern Conscience The Archive of Dreams, Bodies, and Tales References

31 Deterritorialized Spaces and Queer Clocks

Literary and Visual Contexts Theory Practice A Worldwide Hyperfilm “Queer Clocks” References

Part V: Last Things

32 Forum: The Present State and Likely Prospects of Italian Cinema and Cinema Studies

Editor’s Introduction On (the Notion of) Methodology Cinema, Impegno, and the Local Globalization, Transnationalism, Translocality, Nationality Ecocinema The Current Cinematic and Cultural Scene The Crisis of Exhibition/Importance of Curatorial Work (Other) Material and Institutional Conditions and Limitations Current Areas of Investigation Pleasure, the Popular (Again), Cultural and Gender Studies Italian Cinema and Cinema Studies: The Road from Here References

Index End User License Agreement

← Prev
Back
Next →

← Prev
Back
Next →