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Autor: Grafiati
Veröffentlicht am 25. Mai 2024

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1

Taillibert, Christel. „Les écrans du savoir. Jalons pour une histoire du cinéma éducatif et didactique en Italie“. Italies, Nr. 22 (20.10.2018): 149–66. http://dx.doi.org/10.4000/italies.6341.

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2

Nocera, Gino. „Mémoire et histoire des années de plomb en Italie à travers le cinéma : l’émotion contre la raison ?“ Cahiers d’histoire. Revue d’histoire critique, Nr. 107 (01.01.2009): 105–14. http://dx.doi.org/10.4000/chrhc.1356.

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3

Sorlin, Pierre. „Les paysages italiens. Entre cinéma et histoire“. Cinémas 12, Nr. 1 (31.10.2007): 35–48. http://dx.doi.org/10.7202/024866ar.

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RÉSUMÉ Tandis que, dans la première moitié du XXe siècle, les représentations du paysage italien se réduisaient à quelques stéréotypes, un intérêt nouveau pour l'environnement se manifesta, autour de 1950, en littérature, dans les sciences humaines et au cinéma. Les cinéastes, cependant, ignorèrent les efforts des historiens qui tentaient de comprendre comment un territoire évolue avec ceux qui le peuplent; revenant, sans le savoir, aux leçons du positivisme, ils transformèrent les paysages en données permanentes propres à conditionner leurs habitants et, involontairement, fournirent de belles images aux agences de tourisme.
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4

Mariniello, Silvestra. „Techniques audiovisuelles et réécriture de l’histoire. De la représentation à la production du temps au cinéma“. Cinémas 5, Nr. 1-2 (28.02.2011): 41–56. http://dx.doi.org/10.7202/1001003ar.

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La matérialité de l’image cinématographique fait du cinéma un « art » du présent. Le cinéma, institutionnalisé en tant qu’art narratif (ou antinarratif chez les avant-gardes), s’est donné la possibilité de représenter le passé. Mais quand le cinéma résiste au modèle littéraire et explore sa matérialité, un temps différent se produit dans les images, qui met en question la linéarité et la dialectique de l’histoire occidentale. Dans ce texte, l’auteure prend en considération la problématique du temps chez le metteur en scène italien Pasolini. En particulier, elle essaie de montrer comment son « retour au mythe » est, en effet, la voie vers la production d’une temporalité où « préhistoire » et « histoire » ne s’organisent plus sur une ligne horizontale ni verticale. Mythe et histoire coexistent en se contaminant et en dramatisant, en même temps, la rupture qui les sépare. Le travail de Pasolini est particulièrement intéressant dans ses films « tiers-mondistes » (de Oedipe Roi à Notes pour une Orestie africaine, à La Trilogie de la vie, etc.). Par la technique audiovisuelle, ils mettent en scène la médiation entre culture occidentale et autres cultures, et critiquent l’idée de développement et de progtès et, partant, d’un temps linéaire et universel.
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5

Johnson, Rachel, und Alan O’Leary. „Workshop report: Italian Cinemas/Italian Histories“. Journal of Italian Cinema & Media Studies 5, Nr. 1 (01.01.2017): 139–43. http://dx.doi.org/10.1386/jicms.5.1.139_7.

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6

Nowell-Smith, Geoffrey. „My Italian Cinema“. Italianist 31, Nr. 2 (Juni 2011): 270–75. http://dx.doi.org/10.1179/026143411x13051090964776.

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7

Sforza Tarabochia, Alvise. „Italian Neorealist Cinema“. Historical Journal of Film, Radio and Television 33, Nr. 2 (Juni 2013): 343–46. http://dx.doi.org/10.1080/01439685.2013.782623.

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8

Wood, Mary P. „L'italiano e il cinema/The voice in Italian cinema“. Italianist 31, Nr. 2 (Juni 2011): 329–31. http://dx.doi.org/10.1179/026143411x13051090965090.

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9

Rohdie, Sam. „Italian Neorealist Cinema“. Journal of Modern Italian Studies 15, Nr. 3 (Juni 2010): 476–78. http://dx.doi.org/10.1080/13545711003768691.

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10

Kuwornu, Fred Kudjo, und Amanda Minervini. „Co-Teaching Black Italian Cinema“. Italianist 41, Nr. 2 (04.05.2021): 218–23. http://dx.doi.org/10.1080/02614340.2021.1954364.

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11

Bondanella, Peter. „My path to Italian cinema“. Italianist 31, Nr. 2 (Juni 2011): 276–80. http://dx.doi.org/10.1179/026143411x13051090964811.

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12

Marinelli, Maurizio, und Wessie Ling. „Italianerie: transculturality, co-creation and transforming identities between Italy and Asia“. Modern Italy 24, Nr. 4 (November 2019): 363–67. http://dx.doi.org/10.1017/mit.2019.57.

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Questo numero speciale di Modern Italy contiene sette saggi di studiosi internazionali sui rapporti tra l'Italia e l'Asia. L'attenzione primaria è sulla transculturalità, la co-creazione, il fascino e la reinvenzione dell'Italia in Asia (o dell'Asia in Italia) in settori e campi nodali quali l'architettura, il cinema, la letteratura, la moda, la comunicazione digitale, la storia e la geografia.
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13

Uva, Christian. „RECENTI TENDENZE NEGLI STUDI DI CINEMA IN ITALIA“. Italianist 34, Nr. 2 (Juni 2014): 272–74. http://dx.doi.org/10.1179/0261434014z.00000000084.

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14

Rémy, Pithon. „Brunetta Gian Piero, Gili Jean A., L'ora d'Africa del cinema italiano 1911-1989; Gili Jean A., Le cinéma italien à l'ombre des faisceaux (1922-1945)“. Vingtième Siècle. Revue d'histoire 33, Nr. 1 (01.01.1992): 146–47. http://dx.doi.org/10.3917/ving.p1992.33n1.0146.

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15

Annovi, Gian Maria. „Italian Post-Neorealist Cinema“. Journal of Modern Italian Studies 18, Nr. 5 (Dezember 2013): 679–81. http://dx.doi.org/10.1080/1354571x.2013.839597.

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16

Pellegrini, Franca. „Italian Cinema and Immigration Database (ICID)“. Italianist 32, Nr. 2 (Juni 2012): 317–20. http://dx.doi.org/10.1179/026143412x13442661824015.

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17

Antolini, Demetrio. „Italian Cinema(s) Abroad - Conference Report“. Italianist 40, Nr. 2 (21.04.2020): 310–15. http://dx.doi.org/10.1080/02614340.2020.1727719.

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18

Landy, Marcia. „Opera, cinema, melodrama, and history: The case of Italian cinema“. European Legacy 1, Nr. 4 (Juli 1996): 1597–601. http://dx.doi.org/10.1080/10848779608579617.

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19

Fantoni, Gianluca, Marco Paoli und Armando Rotondi. „Representations of ‘Italian populism’ in film“. Modern Italy 27, Nr. 1 (26.01.2022): 49–60. http://dx.doi.org/10.1017/mit.2021.64.

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AbstractThe aim of this article is to illustrate some key points that will hopefully encourage further reflection on the cinematic representations and meanings of populism in both an Italian and international context. Firstly, we attempt a definition of populism as applied to cinema, drawing on both political science and the literature on film history. Secondly, we turn to film critics and directors, discussing the views some of them hold on populism and film in relation to the Italian cinema of recent years. Thirdly, we discuss how the star system provides a useful point of convergence for our analysis of cinema and populism, looking in particular at postwar commedia all'italiana and the role of Totò in this context. Finally, we draw some conclusions and suggest what directions future research on the issue of populism and Italian cinema could take.
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20

Renga, Dana. „Pastapocalypse! End times in Italian trash cinema“. Italianist 31, Nr. 2 (Juni 2011): 243–57. http://dx.doi.org/10.1179/026143411x13051090964695.

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21

Bondanella, Peter. „Recent work on Italian cinema“. Journal of Modern Italian Studies 1, Nr. 1 (September 1995): 101–23. http://dx.doi.org/10.1080/13545719508454909.

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22

Salerno, Daniele. „Tragedia all’italiana. Italian Cinema and Italian Terrorisms 1970–2010“. Historical Journal of Film, Radio and Television 33, Nr. 1 (März 2013): 166–68. http://dx.doi.org/10.1080/01439685.2013.764725.

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23

Garofalo, Damiano. „New approaches to neorealism in Italian cinema“. Modern Italy 25, Nr. 3 (18.06.2020): 333–40. http://dx.doi.org/10.1017/mit.2020.27.

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In an article with the challenging title ‘Against Realism’, Alan O'Leary and Catherine O'Rawe (2011) argued that Italian cinema studies needed to move forward. In their view, the abuse of ‘realism’ as a prescriptive as well as descriptive term had stunted research into Italian cinema of the postwar period, channelling it exclusively towards neorealist trends and thus devaluing study of the other forms, movements, auteurs and productions that emerged during the same period. This historiographical tendency, which Christopher Wagstaff aptly called the ‘institution of neorealism’ (2007, 37), encouraged the development of reverential study and by the 1960s had assumed the form of a canon. While the position taken by O'Leary and O'Rawe was certainly provocative, it has served to stimulate thinking about the areas of postwar Italian cinema that had remained in the shadows and unexplored. Starting to focus on an ‘other’ cinema has not had to mean ‘forgetting’ neorealism, but has brought changes to the way that it is studied. Almost ten years later, the challenge seems to be to rethink neorealism as a transnational phenomenon that straddles different periods, genres and contexts; while it has its roots in postwar European culture, it continues to be influential on a global level.
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24

Luciano, Bernadette, und Susanna Scarparo. „Gendering mobility and migration in contemporary Italian cinema“. Italianist 30, Nr. 2 (Juni 2010): 165–82. http://dx.doi.org/10.1179/026143410x12724449730051.

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25

Bayman, Louis, und Sergio Rigoletto. „Conference report Popular Italian Cinema: An International Conference“. Italianist 30, Nr. 2 (Juni 2010): 309–14. http://dx.doi.org/10.1179/026143410x12724449730330.

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26

Rushing, Robert A. „Toxicity: Making the Toxic Visible in Italian Cinema“. Italianist 40, Nr. 2 (03.05.2020): 244–55. http://dx.doi.org/10.1080/02614340.2020.1735086.

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27

Salas-Murillo, Bértold. „Images to Remember: Nostalgia and Hegemonic Identities in <i>Italia 90: The Movie</i>“. Review of International American Studies 15, Nr. 2 (31.12.2022): 109–27. http://dx.doi.org/10.31261/rias.14721.

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The reconstruction of the past and memory is examined in the feature film Italia 90: The Movie (2014) by Miguel Gómez, which depicts the first participation of a Costa Rican team in a World Cup. The analysis includes the narrative, visual, and sound operations with which the past and memory are recreated (... or created), as well as the ways in which the story involves the viewers, particularly those who remember the episode. It is explained that, although the story resorts to certain topics of sports cinema, it is presented more as an adventure of the community, which would eventually include an entire country, and favors the exploration of the intimate over the epic. Italia 90: The Movie appeals to nostalgia, through recognizable images and sounds, as well as figures anchored in the hegemonic Costa Rican imaginary (such as the “common peasant”), to narrate an episode that, in addition to being central in the history of sports in Costa Rica, it is among the events that symbolically mark the country's entry into the globalized world.
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28

Uva, Christian. „Il cinema politico secondo Peter Bondanella: note su Italian Cinema: From Neorealism to the Present“. Italianist 38, Nr. 2 (04.05.2018): 280–84. http://dx.doi.org/10.1080/02614340.2018.1475605.

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29

Johnson, Kelsey Moore. „A History of Italian Cinema, second edition“. Historical Journal of Film, Radio and Television 39, Nr. 1 (02.01.2019): 194–96. http://dx.doi.org/10.1080/01439685.2018.1543237.

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30

Ben-Ghiat, Ruth. „The Italian colonial cinema: agendas and audiences“. Modern Italy 8, Nr. 1 (Mai 2003): 49–63. http://dx.doi.org/10.1080/1353294032000074070.

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SummaryWhat role has culture played in shaping Italians’ experiences of Italian colonialism before and after the Second World War? How can the tools of cultural analysis be employed to understand the place and space Italian colonialism has had within Italian and European history? This article draws on and discusses the growing body of scholarly work about colonial narratives and representations (exhibitions, travel writings, etc.) but is centred on the Italian colonial cinema. It focuses, in particular, on the issue of the double-edged power of the visual in colonial films with respect to both Italian and African audiences. The article explores spectatorship under colonial conditions but also how the visual elements of colonial films contributed to or complicated the production of ‘colonial experiences’ among the many Italians who never set foot in Africa.
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31

Reich. „The Metamorphosis of Maciste in Italian Silent Cinema“. Film History 25, Nr. 3 (2013): 32. http://dx.doi.org/10.2979/filmhistory.25.3.32.

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32

O’Rawe, Catherine. „LA GRANDE MANCANZA: STARS, POPULAR CINEMA, AND ITALIAN SCREEN STUDIES“. Italianist 34, Nr. 2 (Juni 2014): 256–59. http://dx.doi.org/10.1179/0261434014z.00000000079.

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33

Bottomore, Stephen. „Diva: Defiance and passion in early Italian cinema“. Early Popular Visual Culture 7, Nr. 2 (Juli 2009): 213–14. http://dx.doi.org/10.1080/17460650903011152.

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34

Laviosa, Flavia. „New Visions of the Child in Italian Cinema“. Journal of Modern Italian Studies 20, Nr. 5 (20.10.2015): 761–63. http://dx.doi.org/10.1080/1354571x.2015.1096541.

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35

Rosinska, Olena. „МОТИВИ МЕДІЙНОГО НАРАТИВУ «ЖІНКА-ЗАРОБІТЧАНКА» В УКРАЇНСЬКОМУ, ПОЛЬСЬКОМУ ТА ІТАЛІЙСЬКОМУ КІНО“. Studia Interkulturowe Europy Środkowo-Wschodniej, Nr. 16 (08.12.2023): 135–58. http://dx.doi.org/10.31338/2544-3143.si.2023-16.7.

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Lately, the image of a woman-wage earner, a migrant from another country, has become a particular symbol of the economic disadvantage of some countries and a symbol of the search for a better life in a foreign land. In the Ukrainian cultural context, the image of a wage earner in literature is classic: starting with oral folk art and fiction and ending with film images of the modern period. Instead, our study proposes to change slightly the aspect of view to the problem and to analyse it through the prism of gender and national stereotypes, highlighting the critical narratives of the history of migration and employment of women, not only Ukrainian but also Polish. This will remove some of the connotations of cross-national insults or under-appreciation and open up areas for further exploration of such narratives in film content. Stereotyped images broadcast in film material through rigid narratives are even more important for research because, on the one hand, they reflect specific structures of collective ordinary consciousness. On the other hand, they form them. It is, in particular, about the processes of the transgression of stable consciousness concepts through mass media. While analysing film images, we can trace certain constructs of narratives related to a migrant woman trying to earn money in another country. First of all, she appears as rightless, unadapted to another culture, the one who can apply for unskilled work (usually due to the language barrier and other factors), and under challenging conditions, her country is poor and does not give her opportunities; also women earn for family, that suits men completely, so there is an emphasis on the inability of some people at the expense of others, on gender stigmatisation.
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36

Brunetta, Gian Piero. „Italian cinema and the hard road towards democracy, 1945“. Historical Journal of Film, Radio and Television 15, Nr. 3 (August 1995): 343–48. http://dx.doi.org/10.1080/01439689500260221.

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37

Melanco, Mirco. „Italian Cinema, since 1945: the social costs of industrialization“. Historical Journal of Film, Radio and Television 15, Nr. 3 (August 1995): 387–92. http://dx.doi.org/10.1080/01439689500260261.

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38

Vishnia, Rachel Feig. „Ancient Rome in Italian cinema under Mussolini: The case ofScipione l'Africano“. Italianist 28, Nr. 2 (Oktober 2008): 246–67. http://dx.doi.org/10.1179/026143408x363550.

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39

Uva, Christian. „Nuovo cinema Italia: Per una mappa della produzione contemporanea, tra tendenze, formule e linguaggi“. Italianist 29, Nr. 2 (Juni 2009): 306–24. http://dx.doi.org/10.1179/026143409x12488561926621.

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40

Cardone, Lucia, und Mariagrazia Fanchi. „Che genere di schermo? Incroci fra storia del cinema e gender studies in Italia“. Italianist 31, Nr. 2 (Juni 2011): 293–303. http://dx.doi.org/10.1179/026143411x13051090964938.

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41

Holdaway, Dom. „Cinema, Gender, and Everyday Space: Comedy, Italian Style“. Italian Studies 72, Nr. 4 (20.09.2017): 476–78. http://dx.doi.org/10.1080/00751634.2017.1376509.

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42

Vighi, Fabio. „Fractious Companions: Psychoanalysis, Italian Cinema, and Sexual Difference“. Italian Studies 63, Nr. 2 (September 2008): 235–54. http://dx.doi.org/10.1179/007516308x344379.

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43

Courriol, Marie-France. „DOCUMENTARY STRATEGIES AND ASPECTS OF REALISM IN ITALIAN COLONIAL CINEMA (1935–1939)“. Italianist 34, Nr. 2 (Juni 2014): 122–41. http://dx.doi.org/10.1179/0261434014z.00000000068.

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44

Leavitt, Charles L. „Brutal Vision: The Neorealist Body in Postwar Italian Cinema“. Journal of Modern Italian Studies 18, Nr. 3 (Juni 2013): 381–83. http://dx.doi.org/10.1080/1354571x.2013.780365.

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45

Holdaway, Dom, und Mariarita Martino Grisà. „Conference report Da 'Sodoma' a 'Gomorra': Framing Crisis and Rebirth in Italian Cinema“. Italianist 30, Nr. 2 (Juni 2010): 315–20. http://dx.doi.org/10.1179/026143410x12724449730376.

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46

Laviosa, Flavia. „Journal of Italian Cinema and Media Studies(ISSN 20477368) Introduction to the journal“. Italianist 32, Nr. 2 (Juni 2012): 315–16. http://dx.doi.org/10.1179/026143412x13442661823971.

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47

O’Rawe, Catherine. „Back for good: melodrama and the returning soldier in post-war Italian cinema“. Modern Italy 22, Nr. 2 (10.04.2017): 123–42. http://dx.doi.org/10.1017/mit.2017.18.

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Italian neorealism is conventionally read as the authoritative cinematic chronicle of Italy’s experience of the Second World War and the Resistance. However, this article argues that viewing this period of Italian cinema solely through the lens of neorealism has obscured the importance of the affective charge of melodrama in constituting an alternative ethics of representation in the late 1940s and early 1950s in Italy, one that worked via an appeal to the emotions. It posits that the traumas of Fascism, war, occupation, and Resistance were worked through by Italian cinema after the war in a range of genres and modes, principally melodrama.By focusing on the figure of the returning soldier orreduce, and the films’ representation of a return to domestic disruption, the article examines how this domestic or romantic disruption stands in for what cannot be narrated, which is the ideological chaos of the Fascist and post-Fascist period. The article argues that the disturbance caused by thereduceto familial relations speaks to the Italian struggle to come to terms with aspects of its repressed war experience, particularly that of the Italian soldiers imprisoned abroad.
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48

Hill, Sarah Patricia. „A family affair: the depiction of disability in contemporary mainstream Italian cinema“. Modern Italy 19, Nr. 2 (Mai 2014): 169–81. http://dx.doi.org/10.1080/13532944.2014.910505.

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Despite a grim history of marginalisation and oppression of people with disabilities, Italy has been praised for its early de-institutionalisation and attempts to adopt a more inclusive educational approach. Do recent Italian films provide evidence that these approaches have made a difference to how disability is made visible on film, or is it still depicted largely as an individual or family affair rather than a societal or political issue? Over the last decades, numerous scholars in disability studies have argued that cinema is an important location for understanding the formation of ideas about disability and have analysed the representation of people with disabilities in film, particularly in mainstream cinema. Moving from a focus on stereotypes and the description of ‘positive’ and ‘negative’ portrayals of disability, more recent scholarship examines filmic images of people with impairments in the light of a conception of disability termed by Snyder and Mitchell a ‘constructed social space’. Yet this extensive body of work has had limited impact in Italy in disability studies and film studies. This article applies it to some contemporary Italian films, considering the ways in which they represent disability and focusing in particular on Andrea Molaioli's La ragazza del lago (2007).
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49

O'Leary, Alan. „After Brunetta: Italian Cinema Studies in Italy, 2000 to 2007“. Italian Studies 63, Nr. 2 (September 2008): 279–307. http://dx.doi.org/10.1179/007516308x344397.

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50

Griffiths, C. E. J. „Italian cinema in the Thirties: Camicia nera and other films by Giovacchino Forzano“. Italianist 15, Nr. 1 (01.06.1995): 299–321. http://dx.doi.org/10.1179/026143495792033859.

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