Tesis:

1

Coutureau, Baptiste. "Le scénario en Italie : histoire du scénario en Italie de 1940 à 1970, assortie d'un dictionnaire des scénaristes italiens". Paris 1, 1996. http://www.theses.fr/1996PA010663.

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2

Lancialonga, Federico. "Contre produire : films, formes et modes de production dans le cinéma collectif italien des années 1950-1970". Electronic Thesis or Diss., Paris 1, 2023. http://www.theses.fr/2023PA01H305.

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À partir de l’après-guerre, de nouvelles méthodes « collectives » de production cinématographique voient le jour en Italie : d’abord, dans les années 1940 et 1950, sous la forme de coopératives, et à partir de la décennie suivante, sous celle de collectifs cinématographiques ou d’unités de production indépendantes. Ces initiatives collectives ont produit une grande variété de films, tant sur le plan thématique que formel : des films partisans aux contre-actualités cinématographiques, des fictions aux documentaires, pour en arriver aux bandes vidéo militantes des années 1970. Ces films s’appuient sur un même choix politique : le travail collectif en alternative à l’industrie. Un choix car, pour chacun d’entre eux, il ne s’agit ni d’un repli, ni d’une solution dictée par l’impossibilité ou l’incapacité d’accéder au circuit commercial, mais d’une décision consciente et assumée, en opposition à ce même circuit. Le titre « Contre-produire » souligne cette corrélation entre le refus des méthodes de production du cinéma « dominant » et l’adoption d’une approche collective pour en inventer de nouvelles. Les procédés hégémoniques dont il est question ne se limitent pas seulement aux normes imposées par les circuits du cinéma commercial, mais également aux formes du cinéma « dissident » qui réduisent les films à leur fonction de communication politique. L’objectif est de mettre en lumière une sélection de films, de projets, de théories et d’utopies collectives qui ont émergé à « la marge » du cinéma italien dans l’une de ses périodes les plus fécondes. Loin d’être « marginales » au sens de secondaires, elles ont constitué un laboratoire majeur de nouvelles formes cinématographiques dans l’Italie des années 1950-1970
From the post-war period onwards, Italy witnessed the emergence of new “collective” approaches to film production: in the 1940s and 1950s, it took the form of cooperatives; and in the subsequent decade, it evolved into film collectives or independent film production units. These collaborative endeavors yielded a wide array of films, encompassing a rich diversity of themes and styles : from partisan films to “counter-newsreels,” from fictions to documentaries, culminating in the 1970s militant videotapes. All these films embraced a common political commitment: adopting a collaborative and independent approach for filmmaking as an alternative to the labor-divided and market-oriented film industry. In fact, these films neither embody a desire of withdraw nor a circumstantial response to an inability to break into the well-established commercial networks; on the contrary, they serve as the tangible expression of a deliberate and resolute choice, one made in direct defiance of the prevailing film production system. The neologism “counter-production” aims to underscore the interplay between two fundamental dimensions of the Italian collective cinema: on one hand, the critique of the production modes of “dominant” cinema and, on the other, the embrace of a collaborative approach for filmmaking. In other words, “to counter-produce” extends beyond the mere act of challenging the industry norms, it is also characterized by a critical perspective on certain militant cinematic forms that reduce films to useful tools for political messaging. This dissertation follows a twofold program: it seeks to underscore both the commonalities among these collective practices and the inherent uniqueness found within each cinematic form they explore. By examining a carefully selected body of materials – projects, theories, and collective utopias that surfaced on the “fringes” of Italian cinema during one of the most fertile periods of its history – the overreaching objective is to reevaluate the marginal status of this corpus: rather than occupying a secondary role, it appears to have served as a central and significant experimental ground for pioneering cinematic innovations in Italy from the 1950s to the 1970s

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3

Portelli, Aurélien. "L’Histoire Contemporaine de l’Italie sur grand écran : pouvoir et société dans le cinéma historique italien de 1954 à 2006". Nice, 2007. http://www.theses.fr/2007NICE2013.

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Le Risorgimento, les bouleversements sociaux de la fin du XIXe et du début du XXe siècle, les mutations du fascisme et la réalité de l’antifascisme, ont fait l’objet d’un grand nombre de films italiens entre 1954 et 2006. Cette période constitue un champ d’investigation idéal pour analyser les discours des cinéastes sur l’histoire contemporaine de la péninsule. De nouvelles problématiques font leur apparition quelques années avant le début de « l’âge d’or » du cinéma transalpin. L’évolution de ces interrogations, durant les décennies suivantes, confirme l’intérêt des réalisateurs (partagé, dans une certaine mesure, par la critique et le public) pour le passé quelque peu tumultueux de l’Italie. Les aspects de l’engagement révolutionnaire, les dysfonctionnements du modèle national, les relations entre les classes dirigeantes et les masses laborieuses, la désagrégation de l’armée pendant la Première Guerre mondiale, l’attitude de la population envers le régime fasciste, la question méridionale enfin – diagonale traversant tout le corpus étudié – représentent les grands thèmes abordés dans les films historiques italiens. Les auteurs ont ainsi déterminé, grâce à des approches cinématographiques variées, plusieurs types de rapports de force entre le pouvoir (aussi divers soit-il) et les individus. De ce point de vue, l’importance des fictions de Luchino Visconti, Florestano Vancini ou Francesco Rosi, pour ne citer qu’eux, prouve une fois de plus que l’historiographie ne peut se limiter à l’analyse des travaux des historiens
The Risorgimento, the drastic social changes of the late XIX th and the early XX th Century, the mutations of the fascism and the reality of the antifascist have been the subject of a great amount of Italian movies between 1954 and 2006. This period constitutes an ideal investigation field to analyse the film makers discourses on the contemporary history of the peninsula. New problematics appeared a few years before the « Golden Age » of the Transalpine cinema. The evolution of those interrogations during the following decades confirmed the interest of the film directors (shared to a certain point with the critic and the public) for the quite tumultuous past of Italy. The aspects of the revolutionary commitment, the dysfunctions of the national model, the relationship between the ruling classes and the working masses, the disintegration of the army during World War I, the attitude of the population towards the fascist regime, and finally, the Southern question – diagonal crossing the whole studied corpus– represent the main themes tackled in the historical Italian movies. Thanks to various cinematographic approaches, authors have therefore determined several types of battles of wills between the power (as diverse as it may be) and the individuals. From that point of view, the importance of the fictions of Luchino Visconti, Florestano Vancini or Francesco Rosi, to only quote them, proves once again that the historiography cannot only be limited to analyse the historian work

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4

Gili, Jean Antoine. "Cinéma et société en Italie pendant l'époque fasciste". Paris, Institut d'études politiques, 1990. http://www.theses.fr/1990IEPP0002.

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Après la crise des années vingt, le cinéma italien connaît de 1930 à 1943 une période de reprise industrielle et d'affirmation croissante dans le champ de la consommation culturelle des Italiens. Choisissant très tôt de ne pas favoriser la production d'œuvres de propagande explicite, les responsables du régime ont soutenu une propagande indirecte destinée à dépolitiser le spectateur plus qu'à le faire vibrer aux exploits du "héros" fasciste, de l'homme nouveau exalté dans d'autres registres de la communication de masse. Le cinéma participe des courants qui traversent la période fasciste, il exprime les asservissements politiques et les traits d'indépendance, les répétitions de recettes éprouvées et les recherches de nouvelles formes d'expression et de style qui conduiront au néo-réalisme. Le cinéma, puissamment aidé par le régime (prêts bancaires, primes, installations techniques tel que Cinecitta), a entretenu des rapports complexes avec l'idéologie au pouvoir, oscillant entre la dépendance affichée et la souterraine autonomie: la plupart des cinéastes et des collaborateurs de création se sont tenus dans un prudent afascisme. Ainsi, malgré ses limites et ses défauts, le cinéma des années trente appartient à la culture italienne du "ventennio", il constitue un riche laboratoire d'analyse sur la société dont il est issu
Following the crisis of the 1920's, from 1930-1943, Italian cinema enjoyed a period of industrial recovery and increasing consolidation in the consumption of culture by Italians. State officials, who early decided not to encourage the production of overtly propagandist works, supported an indirect propaganda intended to "depoliticise" the spectator rather than to excite him with the exploits of the fascist "hero", the new man lauded in other areas of mass communication. The cinema was involved in the different currents running through the fascist period. It expresses political servitude and the reflexes independence, the repetition of tried formulae, and the search for new forms of expression and style, which led to neo-realism. The cinema, which was powerfully helped by the regime (bank loans, prizes, technical installations such as Cinecitta) maintained complex relations with the ideology in power, oscillating between declared dependence and an underground of autonomy. Most cineastes and those involved in production kept themselves in a state of prudent "afascism". So despite its faults and limitations, the cinema of the 30's belongs to the culture of the "ventennio". It provides a rich research laboratory in which to study the society, which produced it

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5

Borroni, Chiara. "Le héros dans le cinéma populaire italien des années cinquante aux années soixante-dix : péplum, western, film policier". Paris 1, 2007. http://www.theses.fr/2007PA010612.

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La perspective narratologique et celle socio-anthropologique vont se compénétrer dans la recherche d'un chemin « mythanalytique» qui fouille les archétypes (valeurs intemporelles dépositaires des instances mythiques) et les stéréotypes (codification de ces instances dans une période spécifique) qui définissent le héros dans les genres du cinéma populaire italien péplum, western, film policier - au cours de la période comprise entre les années du boom économique (fin des années cinquante) et la crise du système industriel (fin des années soixante-dix). En considérant ces éléments sur le plan de leur modification, le but de la recherche est donc de comprendre comment, dans leur adaptation aux changements, ces facteurs peuvent devenir métaphores (valeurs temporelles et historiques, expression des instances socio-culturelles) de l'évolution du profil du spectateur qui projette sur l'identité fictionnelle (le héros) les dynamiques de transformation de son imaginaire de référence.

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6

Taillibert, Christel. "L'Institut international du cinéma éducateur". Paris 1, 1998. http://www.theses.fr/1998PA010503.

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Le 5 novembre 1928 était inauguré à Rome l'institut international du cinématographe éducatif. Cet organisme avait été créé sur l'initiative de Benito Mussolini et place dans le cadre de la société des nations. Il possédait ainsi un double statut: national étant donné qu'il était financé, hébergé et contrôlé par le gouvernement italien, et international au regard de ses objectifs généraux et du droit de regard exerce sur lui par diverses organisations internationales. Son objectif central était de favoriser la production, la diffusion et l'échange des films éducatifs entre les divers pays dans un esprit conforme aux objectifs de base de la société des nations, c'est-à-dire de travailler à la connaissance mutuelle, la compréhension et la collaboration entre les peuples. Malgré la modestie de ses moyens humains et financiers, les champs concernés par ses activités se révèlent d'une ampleur et d'une variété considérables. Au niveau théorique, il effectua un bilan de l'état des connaissances en matière de cinématographie didactique et éducative au niveau mondial. Ses travaux furent diffusés à travers ses nombreuses publications, dont en particulier ses revues mensuelles. Ils furent de même synthétisées au cours du grand congres international qui, sur son initiative, réunit plus de 400 congressistes à Rome en avril 1934. Enfin, l'institut fut à l'origine d'un certain nombre de réalisations pratiques : la mise en place d'une convention internationale abolissant les droits de douane sur les films éducatifs, la compilation d'un catalogue international des films éducatifs, la création du festival cinématographique de Venise, etc. Bien que travaillant en toute liberté par rapport au gouvernement italien, l'institut de Rome subit toutefois les conséquences de la politique étrangère mussolinienne puisqu'il dut fermer ses portes lorsque l’Italie se retira de la société des nations en décembre 1937
He international institute of educational cinematography was inaugurated in Rome on november, 5, 1928. It had been created on benito mussolini's initiative and set within the framework of the society of nations. So, it had a double statute, national since it was financed, lodged and controlled by the italien government and international considering its general objectives and the right of examination of differents international organisations. Its main objective was to promote the production, the diffusion and the exchange of educational films in a spirit in accordance with the basic objectives of the society of nations wich were mutual knowledge, comprehension and collaboration. In spite of the slenderness of its human and financial means, the spheres of its activities were very large and diverse. It was supposed tigather information concerning the didactic and educational cinematography at a world-wide level. Its work was known through several publications, espacially its monthly reviews. It was synthetized too during the important international congress which convened more than 400 members in rome in april 1934. Lastly, the institute was at the origin of many practical realizations: an international convention for the abolition of the taxes on educational films, the compilation of an international catalogue of educational films, the creation of the cinematographic festival of Venice. . . Althrough it had been given freedom of action, the international institute suffered for the consequences of Mussolini's foreign politics and was closed when italy left the society of nations on december 1937

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7

Napolitano, Valeria. "La Figure humaine dans le cinéma italien des années dix". Paris, EHESS, 2004. http://www.theses.fr/2004EHES0114.

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Cette thèse se compose de quatre parties - une vaste introduction consacrée à un essai futuriste, deux sections "centrales" qui traitent des modèles figuratifs et du geste dans certains films considérés comme les plus significatifs de l'époque (Maciste Alpino, Il fuoco, Assunta Spina, Cabiria), et une conclusion centrée sur un domaine autre que la fiction, le documentaire - que j'ai écrites au cours de quelques années. Les films choisis témoignent du pouvoir du cinéma dont je parle de traduire la relation entre l'homme du début du vingtième siècle et le monde dont il est contemporain. J'ai parlé d'analyse parallèle avec la première génération futuriste italienne. L'intention de cette hypothèse n'est pas que chacun voie un rapport d'ordre proprement esthétique entre la démarche figurative des deux domaines, mais plutôt qu'on se demande si et comment le cinéma italien du milieu des années dix nous parle de la persistance, chez l'homme, d'une double inhumanité
This work is divided into four sections, which have been written during three years : it contrains a long introduction dedicated to a futrist essay (the Manifesto della cinematografia futurista), two central parts where I consider the different models of representation and the gesture (most significant movies : Maciste alpino, Cabiria, Assunta Spina, Il fuoco) and a final part dedicated to the documentary. Each chapter of the central part provides a paralleled study of some of the best examples of "silent movies" produced over the first two decades of the last century, and tries to place them in the cultural context of Italian Futurism; it is inspired to the book of J. F. Lyotard, L'Inhumain, exploring the condition of modernist and contemporary artist. Most important questions : how does this cinema translate the relation between the earliest twentieth-century man and his world? From the earliest comiche to the latest melos, how the directors of this period go on to describe the double identity of human being?

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8

Aubert, Natacha. "Usage et réception du thème de l'antiquité dans le cinéma muet italien (1905-1930)". Paris 3, 2003. http://www.theses.fr/2003PA030022.

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A partir d'un corpus de 157 films italiens muets mettant en scène l'antiquité, cette recherche se divise en deux parties. La première aborde les films comme une série documentaire. Une étude quantitative permet d'appréhender l'évolution statistique de l'emploi du thème de l'antiquité entre 1900 et 1930, en le replaçant dans un contexte international puis en le situant, dans la cinématographie italienne, par rapport aux autres périodes historiques traitées. L'étude de la réception des films à sujet antique peut se faire à travers les comptes rendus, puisqu'il semble qu'ils sont considérés comme le fer de lance de la production nationale. La seconde partie se veut une approche qualitative. A travers l'analyse de plusieurs films, il apparaît que l'adaptation de l'antiquité n'est jamais innocente et a toujours un lien avec les préoccupations du présent. Au-delà du divertissement et de l'exotisme, il y a toujours une part de discours idéologique interne à l'Italie ou vis-à-vis de l'étranger
Based on 157 Italian silent films presenting antiquity, this project is bipartite. Part one studies the films as a series of documents. A quantitative study yields an understanding of the statistical evolution of the use of the theme of antiquity between 1900 and 1930, first in Italian cinematography, then in the international context and finally in relation to other historic periods. Reception of films on the subject of antiquity, considered the spearhead of national film production, is studied through film reviews. The second part offers a qualitative approach. Through the analysis of several films, it is apparent that the adaptation of antiquity is never innocent and is always linked to the preoccupations of the present. Beyond entertainment and exoticism, there is always the facet of ideological discourse internal to Italy or vis-à-vis foreign countries

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9

Frach, Sylwia. "Vision contemporaine de la Grèce antique : mythe et cinéma selon Pier Paolo Pasolini". Thesis, Paris Est, 2013. http://www.theses.fr/2013PEST0011.

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La vision de la Grèce antique de Pasolini est une vision barbare parce que le cinéasterefuse toute idéalisation néoclassique. Une telle vision de l’antiquité était déjà répondue dans laculture européenne à travers les textes de Nietzsche. Pasolini est inspiré particulièrement pardeux disciplines auxquelles il se réfère souvent : l’anthropologie et la psychanalyse.A une thématique barbare correspond aussi, chez le cinéaste italien, un environnementbarbare, avec l’accord entre la forme de l’expression et la forme du contenu. Pasolini rejette lareconstitution archéologique : à la luminosité aveuglante du Maroc (où est tournée la partiemythique d’OEdipe roi), à l’architecture archaïque de pierre de la Cappadoce (la Colchide deMédée), aux remparts d’une ville syrienne d’Alep (Corinthe dans Médée), le cinéaste associe descostumes dans lesquels s’inscrivent de différentes cultures archaïques, et des musiquesprovenant pour la plupart des pays non-occidentaux (africaines, tibétaines, japonaises,roumaines).Avec la pratique de la contamination et du pastiche, Pasolini souhaite recréer le langageintemporel du mythe, le langage primaire dans lequel s’inscrit la civilisation paysanne. Cetterelation entre le mythe grec et le monde rural s’articule principalement autour de la notion decyclicité
Pasolini’s vision of ancient Greece is barbaric because the filmmaker refuses any neoclassicalidealization. This vision of antiquity was already famous in European culture through the textsof Nietzsche. Pasolini is particularly inspired by two disciplines he often refers to : anthropologyand psychoanalysis.The barbarian theme is also linked to a barbaric environment, with agreement between the formof expression and form of content. Pasolini rejects archaeological reconstruction. He combinesblinding brightness of Morocco (were the mythical part of the Oedipus Rex is turned), archaicarchitecture in stone of Cappadocia (Colchis in Medea), and the ramparts of a Syrian city Aleppo(Corinth in Medea) with costumes from different archaic cultures and music mostly from non-Western countries (African, Tibetan, Japanese, Romanian).With the practice of contamination and pastiche, Pasolini wants to recreate the timelesslanguage of myth, the primary language of the peasant civilization. The relationship between theGreek myth and the rural world revolves mainly around the notion of cyclicity

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10

Puliero, Catherine. "Nanni Moretti entre autobiographie, réalité et fiction". Thesis, Paris 3, 2020. http://www.theses.fr/2020PA030004.

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Au moment où le cinéma italien semble peiner à se renouveler, Nanni Moretti fait son apparition en tant que réalisateur-acteur. Il impose au public son corps, son visage, son égocentrisme, une certaine image de soi teintée d’une pointe d’ironie. Depuis ses débuts, il se raconte ou raconte sa génération et les précédentes à travers les personnages qu’il interprète à l’écran. En regardant l’ensemble de ses réalisations, nous entrevoyons l’existence d’une interaction entre autobiographie, réalité et fiction. Cette thèse engage une étude chronologique et thématique de l’œuvre « morettienne » à partir de quatre lignes de forces. La première traite de l’autobiographie comme source d’inspiration. Elle questionne la manière dont le réalisateur construit ses films entre autobiographie et autoportrait. Elle révèle aussi comment il transforme ses expériences de vie, les objets ou les lieux en traces autobiographiques. La seconde démontre comment la représentation du réel est à la source même de ses créations grâce à la participation de ses proches ou grâce à l’emploi de supports écrits ou visuels. La troisième explore davantage les mécanismes créatifs de ses réalisations. Elle étudie particulièrement l’insertion des citations filmiques ou le tournage d’un film dans le film au sein de ses fictions. Une étude détaillée de Mia madre confirmera l’utilisation de l’autobiographie, de la réalité et de la fiction dans ce récit par le cinéaste. La quatrième révèle comment la fiction devenant la réalité fait de Moretti un artiste visionnaire
At a time when the Italian cinema seems to be struggling to renew itself, Moretti emerges as a director-actor. He imposes on the public his silhouette, his face, his self-centeredness, a certain self-image tinged with a touch of irony. Since his beginnings, he talks about himself or about his generation and the previous ones, through the characters he plays on screen. Reviewing his entire production, we identify the existence of an interaction between autobiography, reality and fiction. This thesis starts a chronological and thematic study of the "Moretian" work based on four main key elements. The first one deals with autobiography as a source of inspiration and questions how the director structures his films between autobiography and self-portrait. It also reveals how he converts his life experiences, objects or places into autobiographical traces. The second key element demonstrates how the representation of reality is at the very source of his creations with the participation of his relatives or by using written or visual materials. The third key element further explores the creative mechanisms of his work. It especially studies the insertion of film quotes or the shooting of a film within the film in his fictions. A detailed study of Mia madre will confirm the filmmaker's use of autobiography, reality and fiction in this narrative. The fourth key element reveals how fiction by becoming reality makes Moretti a visionary artist

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11

Wang, Chunchun. "La Traversée vers la postmodernité : la transformation de l’Italie à travers le cinéma de Michelangelo Antonioni, Federico Fellini et Pier Paolo Pasolini (1957-1978)". Thesis, Paris 8, 2018. http://www.theses.fr/2018PA080020.

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La présente thèse étudie la transformation de l’Italie vers la postmodernité (1957-1978) à travers le cinéma de trois auteurs : Michelangelo Antonioni, Federico Fellini et Pier Paolo Pasolini. Elle explore l’historicité du cinéma, en interrogeant la manière par laquelle le septième art constitue une mise en forme et une écriture de l’histoire. Dans la convergence de deux histoires, celle humaine et celle du cinéma, elle met en récit l’expérience de la transformation sociétale et artistique. En dernière analyse, il est question d’étudier le cas italien comme un paradigme. En réactualisant les propositions des trois cinéastes dans le contexte contemporain de la mondialisation, de l’hypermédiatisation et de la domination technologique, le présent travail nous invite à repenser la vie humaine et la création artistique face aux défis de la postmodernité
This thesis examines the transformation of Italy towards postmodernity (1957-1978) through the cinema of three film directors: Michelangelo Antonioni, Federico Fellini, and Pier Paolo Pasolini. It explores the historicity of cinema, by questioning the concrete means through which film constitutes a form and a writing of history. In the coming together of two histories, the human one and that of the cinema, the thesis recounts the experience of a societal and artistic transformation. In the final analysis, it is a question of studying the Italian case as a paradigm. By updating the proposals of the three filmmakers in the contemporary context of globalization, hypermedia and technological domination, this work invites us to rethink human life and artistic creation, facing the challenges of postmodernity

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12

Tassi, Graziano. "La capitale du « miracle économique » italien : Milan et ses représentations entre littérature et cinéma (1955-1965)". Thesis, Paris 10, 2016. http://www.theses.fr/2016PA100153/document.

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L’objectif de cette thèse est d’analyser comment la littérature et le cinéma ont représenté la ville de Milan au cours de la décennie 1955-1965, qui précède et suit de peu ce que la grande majorité des historiens appelle maintenant « le miracle économique » des années 1958-1963. Avec cette étude, nous avons essayé de retracer le portrait réel et imaginaire d’une ville qui, au moment du « miracle économique », semble connaître et contenir toutes les dynamiques de changement, qu’à une plus grande échelle connaît le pays tout entier. Pour ce faire, nous avons adopté une démarche interdisciplinaire qui nous a conduit à étudier les formes réelles de la ville à travers des ouvrages d’histoire, d’architecture, d’urbanisme et de sociologie pour ensuite les confronter avec leurs représentations imaginaires dans la littérature et le cinéma. Ce choix était dicté par la conviction que la complexité de la ville, en tant qu’objet d’étude, intègre divers niveaux de structuration : physique, économique, social mais également temporel et imaginaire. Cette thèse est composée de cinq parties qui vont de l’analyse de la forme urbanistique de la ville à l’examen de sa composition sociale. Au terme de notre travail nous pouvons ainsi dégager trois « images », en apparence contradictoires, qui semblent définir la ville lombarde : « la ville dynamique », « la ville du capital » et « la ville cristallisée ». Ces trois images s’expriment au travers d’une grande variété de modalités de représentation, de styles et de tons, qui semblent former une vaste mosaïque d’expressions artistiques reflétant la complexité, les relations, les contrastes et les conflits qui caractérisent la ville de Milan au moment du « miracle économique »
The aim of this dissertation is to analyse how literature and cinema have represented the city of Milan during the decade 1955-1965, which slightly precedes and follows what the majority of historians now call the “economic miracle” (1958-1963). This research attempts to retrace the real and the imaginary portrait of a city, whose experience and dynamics at the time of the “economic miracle”, appeared as a representative sample of Italy as a whole. This topic has been considered from an interdisciplinary perspective through works of history, architecture, urbanism and sociology, focusing first on the real forms of the city. These forms are then subsequently confronted with their imaginary representations through literature and cinema. This choice was dictated by the conviction that the complexity of the city, as an object of study, integrates various levels of structuration: physical, economic, social, but also temporal and imaginary. This dissertation is composed of five parts beginning with the analysis of the urban form of the city and ending with the examination of its social composition. After this investigation, three distinct, yet seemingly contradictory, images appear, which could define the Lombard city as “the dynamic city”, “the city of the capital” and “the crystalized city”. These three contradictory images are expressed through a large variety of modes of representation, styles and tones, which form a broad mosaic of artistic expressions reflecting the complexity, relations, contrasts and conflicts that characterize the city of Milan at the time of the “economic miracle”

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13

Repetto, Benedetto. "Le documentaire Italien : la contestation cinématographique dans l'ère Berlusconienne". Thesis, Université Paris-Saclay (ComUE), 2018. http://www.theses.fr/2018SACLV069.

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La présente étude aborde le documentaire italien sous l'ère berlusconienne tout en réfléchissant sur ses interactions avec les transformations historiques et culturelles de l'Italie. Cette production documentaire témoigne de l’urgence de dénoncer les mécanismes du pouvoir et de rechercher la vérité à une époque où réaliser du cinéma politique paraît difficile. Nous sommes partis de l’hypothèse qu’un documentaire de contestation a bien existé et l’étude du contexte social dans lequel un film a été réalisé permet de constituer un cadre de référence qui manifeste quelle production de sens les auteurs ont voulu contester. Le documentaire s’est concentré sur la réalité, en se posant par rapport à l’histoire et à la mémoire. Il a servi d’archive des luttes. Les images de ces films sont des témoignages d’une histoire douloureuse, mais elles montrent également qu’une partie du peuple résiste. Ces documentaires semblent avoir pour objectif d’être la mémoire de cette Italie-là
The present study debates the Italian documentary in Berlusconi’s era reflecting on its interactions with historical and cultural transformations in Italy. This documentary production reveals the urge to expose power mechanisms and seek truth in a moment when making political cinema looked difficult. We started from the theory that a political protest documentary certainly existed, and the study of the social context in which a certain movie was realized allows us to establish the frame in which the authors operated their criticism. The documentary focused on reality, correlating with history and memory. It served as an archive for struggles. These movies witness painful stories, but also show the resisting fraction of a people. This kind of documentary aspires to being the historical memory of that Italy

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Murru, Matilde. "L'image et la culture de la Sardaigne dans la filmographie italienne du deuxième après-guerre à la fin des années 70". Paris 3, 2002. http://www.theses.fr/2002PA030100.

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Terre de bandits ou paradis exotique pour y passer les vacances? Il semble que, dès ses premières apparitions à l'écran, la Sardaigne n'offre d'autre alternative que ces deux lieux communs. Ce travail se propose justement d'aller au-delà des clichés et d'examiner très précisément quelle image le cinéma, avec son langage et ses modalités spécifiques, a donné de la culture et de la réalité sardes. Tout au long de notre recherche, nous avons pris en considération les documentaires et les films de fiction concernant l'île à une période bien précise de l'Histoire, celle qui va du deuxième après-guerre à la fin des années 70. Les documentaires ont été divisés en six groupes thématiques correspondant aux phases historiques et aux problèmes les plus significatifs de la société sarde. Pour ce qui concerne la fiction, nous avons essayé de dresser un inventaire de tous les films qui, directement ou indirectement, évoquent la Sardaigne, depuis Cenere (1916) avec Eleonora Duse jusqu'à Chiedo Asilo (1979) de Marco Ferreri. Chaque type de production est analysé à partir de son contexte historique et politique. Cette problématisation sociale, qu'elle soit affichée ou occulte, apparaît en effet comme l'une des données constantes de cette cinématographie peu connue, appréhendée ici dans son ensemble pour la première fois. Il faut enfin signaler deux brefs entretiens avec Gavino Ledda et les frères Taviani, respectivement auteur et réalisateurs du film le plus connu à l'étranger, et probablement le seul qui ait montré un peu de la réalité sarde au reste du monde
Land of bandits or exotic holiday paradise ? It seems that from its first appearances on the screen Sardinia offers only these two clichés. This paper intends to go beyond the commonplace to precisely analyse the image the cinema has given to Sardinian culture and reality, with its language and its peculiar features. During our study, documentary films and fictions concerning the island have been considered from the Second Post-War to the end of seventies. The documentary films have been divided in six thematic groups relating to historic periods and to the most important problems of Sardinian society. In terms of fiction, we sought to draw up an inventory of all films which recall, directly or indirectly, Sardinia from Cenere (1916) with Eleonora Duse to Marco Ferreri's Chiedo asilo (1979). Finally we point out two short interviews with Gavino Ledda and with the Taviani brothers, respectively author and directors of the most famous film abroad and probably the only one which was able to portray clearly some Sardinian reality

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15

Gérard, Fabien. "La certitude et de doute: recherche du mystère et quête identitaire dans le cinéma de Bernardo Bertolucci". Doctoral thesis, Universite Libre de Bruxelles, 2002. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211352.

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16

Droin, Nicolas. "Paysage et dépaysement dans l’œuvre de Michelangelo Antonioni : de "Blow Up" à "Identification d’une femme"". Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100175/document.

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L’œuvre d’Antonioni constitue un champ privilégié pour initier une étude du paysage dans l’art cinématographique. Notre étude se focalise sur le dépaysement cinématographique d’Antonioni, de Blow up (1966) à son retour en Italie avec Identification d’une femme (1982). Notre étude vise à marquer l’importance d’une conception mouvante et cinéplastique du paysage, intégrant la question du montage, du mouvement (de l’image et dans l’image), pour dégager les forces rythmiques, métamorphiques et plastiques de l’image-paysage au cinéma. A partir de ces forces, nous souhaitons ouvrir la question du paysage à l’aune de la notion de dépaysement. Le dépaysement constitue un matériau opérant pour penser l’image cinématographique, sa déterritorialisation, son mouvement. Dépayser le paysage entraîne chez Antonioni un dialogue avec l’Histoire de l’art qui implique de repenser les questions esthétiques majeures du XXème siècle (de l’abstraction à l’art informel, en passant par le Land Art et la performance) dans le champ d’une étude cinématographique. La question du dépaysement nécessite de proposer de nouveaux outils pour penser le paysage au cinéma. Nous proposons de nommer « entre-paysage » la constitution d’un paysage qui intègre les processus propres à l’image cinématographique dans sa plastique, en nous appuyant sur les notions d’intervalle et d’entre-image. Un « entre-paysage » cinématographique, tel qu’il est possible de le définir dans l’œuvre d’Antonioni, ouvre une mobilisation plastique de l’image-paysage qui nous permet d’interroger en retour la pratique artistique contemporaine
The work of Antonioni is a fertile field to study landscape in cinematographic art. This study focuses on Antonioni's cinematographic disorientation, from Blow up (1966) to its come-back in Italy with Identification of a woman (1982). My work aims at showing the importance of a changing and cineplastic vision of landscape which integrates the question of editing, motion (of image and inside the image itself), in order to highlight the rhythmic, metamorphic and plastic strenghts of the image-landscape in the cinema. Having shown these strenghts, I intend to interrogate the question of landscape from the notion of disorientation. Disorientation represents an operating materiel to think the cinematographic image, its deterritorialisation, its motion. Disorientating landscape in Antonioni's work leads to a dialogue with art history, which implies to rethink the major aesthethic questions of the 20th century (from abstraction to informal art, by Land-Art and performance) in the context of a cinematographic study. The question of disorientation requires new tools to rethink landscape in the cinema. I suggest to name « inter-landscape » the constitution of a landscape which integrates peculiar to image in its plastic processes relying on notions suchs as interval and inter-images. A cinematographic « inter-landscape », as can be define from the work of Antonioni, offers a plastic mobilisation of the image-landscape which allows to interrogate, in turn, contemporary artistic practice

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17

Houcke, Anne-violaine. "L'invention de l'antique dans le cinéma italien moderne : la poétique des ruines chez Federico Fellini et Pier Paolo Pasolini". Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100170.

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Le néoréalisme – et notamment le cinéma de Roberto Rossellini – a montré à quel point l’Italie sortait ruinée de la Seconde Guerre mondiale. À la théâtralité fasciste et à la rhétorique grandiloquente de la romanità succède une attention nouvelle portée à l’humilis et, corollaires de cet « amour pour la réalité » (expression de Pasolini, à propos de Rossellini et de Fellini), de nouvelles pratiques cinématographiques. Cette recherche a pour ambition de mettre en regard deux cinéastes généralement considérés comme antithétiques, avec pour fil directeur « l’invention de l’antique », afin de mettre en évidence l’existence d’un horizon commun, qui trouve son origine dans deux réalités historiques : d’un côté le rejet de l’Antiquité fasciste, de l’autre la résistance à la fuite en avant contemporaine. L’« antique », entendu conceptuellement comme matrice de résistance (donc non limité aux bornes historiques assignées à l’Antiquité), est ici pris dans un jeu dialectique et dynamique avec l’idée de modernité, puisqu’il s’agit de déterminer comment une modernité esthétique a pu s’inventer et s’expérimenter contre, ou tout contre, une autre modernité – sociale, économique, politique. Fellini plonge dans l’univers chaotique et placentaire de la création en studio. Pasolini, à l’inverse, se déplace toujours plus loin du centre, à la rencontre de nouveaux corps, et de nouvelles terres à arpenter. Dans les deux cas pourtant, il s’agit d’en passer, de manière poétique, par deux disciplines que l’après-guerre n’accepte pas plus que le fascisme – la psychanalyse et l’ethno-anthropologie – pour mettre au jour des survivances, pour porter à la lumière ce que la modernité refoule, et « fictionner » à partir de ces fragments. L’invention sera donc d’abord entendue au sens archéologique du terme (impliquant repérages, découverte, mise au jour). Elle sera aussi entendue au sens poétique de l’« œuvrement » à partir des fragments, mettant en évidence des affinités électives entre l’Antiquité et le cinéma
Neorealism in general, and Roberto Rossellini’s works in particular, portray post-WW2 Italy as a country in ruins, both literally and metaphorically. Fascist theatricality and the pompous rhetoric of the romanità are abandoned, and a new focus is given to humilis – “loving reality” in the words of Pasolini commenting on Rosselini’s and Fellini’s works – and the new film practices that stem from it. In this dissertation, I compare two film makers who are usually put in systematic opposition to each other, and show how their works actually have common characteristics when analysed from the perspective of what I call “the invention of Antiquity”. From two distinct points in history, they not only reject the fascist interpretation of Antiquity, but also resist modern Italy’s race to progress. Here the concept of “Antiquity” is defined as a form of resistance, which as such transcends its traditional historical boundaries. It is involved in a dynamic dialogue with the idea of modernity, so as to show how a form of aesthetic modernity gets invented and put into practice as a reaction against a different form of social, economic and political modernity. Fellini delves into the chaotic and womb-like world of film studios, while Pasolini moves further and further away from the centre, in search of new bodies to discover and new lands to walk. Yet they must both find a poetic way of dealing with disciplines that post-WW2 Italy rejects as much as fascism – psychoanalysis and ethno-anthropology. For both of them, the aim is to uncover relics of the past, to shed light on those elements repressed by modernity, and create fictions” out of these fragments. The term invention is thus first intended in its archaeological meaning (i.e. locating, discovering, uncovering). It is then used in a more poetic sense, as an act of “crafting” out of fragments, which highlights specific connexions between the world of antiquity and the world of films

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Cavaleri, Giuseppe. "Le cinéma italien en France : histoire, société et diffusion : étudiées à travers les œuvres de Emanuele Crialese, Matteo Garrone et Paolo Sorrentino". Thesis, Paris 10, 2017. http://www.theses.fr/2017PA100096/document.

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Nous pouvons appréhender le Cinéma comme un vecteur culturel capable de cristalliser les us et coutumes d’une société, ou comme un outil susceptible d’en manifester les aspirations. L’industrie cinématographique italienne demeure parmi celles qui ont su imposer dans l'imaginaire des publics des œuvres venues aussitôt enrichir le patrimoine culturel mondial. De nos jours, sa présence internationale est plus modérée, et le rayonnement de ses œuvres ne dépasse que rarement les limites nationales. Les quelques auteurs tels que Emanuele Crialese, Matteo Garrone et Paolo Sorrentino ont su gagner une visibilité désormais incontestable, leur permettant de devenir le symbole d’un cinéma italien contemporain renaissant. Les contenus de leurs filmographies sont le résultat de formes cinématographiques tout aussi riches que variées, et leur influence semble capable de modifier et de mettre à jour l’imaginaire des passionnés de culture italienne. Nos travaux veulent étudier et comprendre l’impact de leurs œuvres au sein d’un pays comme la France. À travers une étude qui se veut historique, sociologique et économique, nous analysons la représentation du réel dans l’histoire du cinéma transalpin, un idéal intellectuel qui semble intéresser particulièrement les publics français. Puis nous nous consacrons aux contenus de nos trois filmographies de référence, pour en extrapoler les données socio-politico-économiques. L’étude de l’impact de ces œuvres sur les critiques cinématographiques français conclut ces travaux, qui se penchent également sur la distribution et l’exploitation de ce cinéma, présent non seulement dans les salles de l'Hexagone, mais diffusé parallèlement au sein de nombreux festivals
One may approach cinema as a cultural vector which can either give shape to the habits and customs of a given society or reflect its yearnings. The Italian film industry is one among those which have produced movies which entered the global cultural imaginary. Nowadays, its international presence has been reshaped and Italian films do not easily shine beyond the national frame. Artists such as Emanuele Crialese, Matteo Garrone or Paolo Sorrentino have managed to achieve an undeniable visibility, and have become the symbol of a reborn contemporary Italian cinema. The content of their filmographies are the result of film shapes that are as rich as they are diverse, and their influence seems able to alter and to update the imaginary of italian culture connoisseurs. The purpose of our work is to study and understand the impact of their masterpieces on the French audience. Through a historical, sociological and economical study, we will analyse the representation of reality in the history of Italian cinema : an intellectual ideal which seems to have been of interest especially to the French spectators. Then we will focus on the content of these three specific directors’ lifework in order to examine social, political and economical data. Finally, we will conclude by observing the impact these films have had on French experts such as film critics. This study also deals with the distribution and the running of these specific directors’ films not only in the cinemas but also when aired in various film festivals
È possibile concepire il Cinema come un vettore culturale capace di materializzare gli usi e i costumi di una società, o suscettibile di manifestarne le aspirazioni. L'industria cinematografica italiana dimora tra quelle che hanno saputo imporre delle opere entrate istantaneamente nell'immaginario collettivo, e ciò su scala mondiale. Oggi, la sua presenza a livello internazionale è stata ridimensionata e la diffusione delle sue opere oltrepassa raramente i confini nazionali. I rari autori del calibro di Emanuele Crialese, Matteo Garrone e Paolo Sorrentino hanno saputo acquisire una visibilità oramai indiscussa, permettendo loro di diventare il simbolo d'un cinema italiano contemporaneo rinascente. I contenuti delle loro filmografie sono il risultato di forme cinematografiche tanto ricche quanto varie, e la loro influenza sembra capace di modificare e aggiornare l'immaginario degli appassionati di cultura italiana. Queste ricerche vogliono analizzare e comprendere l'impatto delle loro opere in un paese come la Francia. Attraverso degli studi storici, sociologici ed economici, queste ricerche analizzano le forme rappresentative legate al reale presenti nella storia del cinema italiano, un ideale intellettuale che sembra interessare in particolar modo i pubblici francesi. Inoltre, esse si consacrano all'estrapolazione dei dati socio-politico-economici contenuti nelle tre filmografie a cui facciamo riferimento. L'analisi dell'impatto di queste opere sui critici cinematografici francesi scelti come pubblici, concludono queste ricerche che si dedicano in egual modo alla distribuzione e alla commercializzazione di queste opere, presenti non solo in sala, ma diffuse inoltre in molti festival

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Oggero, Elisa. "Une cinématographie et une scénographie d’avant-garde : Carlo Levi et le cinéma (1930-1950)". Thesis, Besançon, 2012. http://www.theses.fr/2012BESA1036.

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Ces dernières années, la production littéraire et artistique de Carlo Levi a fait l’objet d’études approfondies et de nombreuses publications. Cependant, une partie de son œuvre a été négligée par la critique et notamment son activité de scénographe, de scénariste et de cinéaste. La collaboration de Carlo Levi avec l’industrie cinématographique commence au début des années trente et se poursuit jusqu’au début des années cinquante. Pendant ces années, Levi a l’occasion de collaborer non seulement avec des artistes comme Enrico Paulucci, Italo Cremona et Carlo Mollino, avec qui il réalise les scénographies de Patatrac et de Pietro Micca, mais aussi avec des hommes de lettres tels que Mario Soldati, Rocco Scotellaro et Alberto Moravia. Cette étude vise à reconstruire le parcours cinématographique de Carlo Levi en s’appuyant sur des documents d’archives de nature et de provenance différente : des scénarios, des synopsis, des story-boards mais aussi des contrats commerciaux, pour la plupart inédits. Sa production filmique couvre tous les genres : du comique au dramatique, du documentaire à la comédie musicale. Notre travail rend accessible une partie méconnue de l’œuvre de Carlo Levi en contribuant ainsi à la redécouverte de l’un des auteurs majeurs du XXe siècle
In recent years there have been many in depth studies and publications on Carlo Levi's literary and artistic works. However, a section of his work, in particular his work in set design, script writing and film making in general, has been largely neglected by critics. Carlo Levi's association with the film industry started at the beginning of the nineteen thirties and extended to the beginning of the nineteen fifties. During these years, Carlo Levi had the opportunity to work not only with famous artists like Enrico Paulucci, Italo Cremona and Carlo Mollino, with whom he designed the film sets of Patatrac and Pietro Micca, but also with men of letters of the stature of Mario Soldati, Rocco Scotellaro and Alberto Moravia. The aim of this study is to trace Carlo Levi's career in cinema using information found in archived documentation of various types and from various sources: from sets, synopses and story-boards but also in previously unpublished commercial contracts. The films that he produced cover all genres: from comedy to drama and from documentaries to musicals. Our work makes a hereto unknown section of Carlo Levi's work accessible, thereby contributing to the rediscovery of a major 20th century author

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Courriol, Marie-France. "Cinéma et expérience totalitaire : le laboratoire du genre du film de guerre dans l'Italie fasciste (1935-1943)". Thesis, Lille 3, 2015. http://www.theses.fr/2015LIL30047.

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Cette thèse analyse les films de guerre de fiction produits dans l’Italie fasciste de 1935 à 1943, de la Guerre d’Ethiopie à la fin de la Seconde Guerre mondiale. Elle démontre que le genre de guerre fonctionne comme un laboratoire pour l’entreprise de révolution anthropologique de l’Italie, inhérente à l’expérience totalitaire fasciste. Ce modèle cinématographique et social est en effet célébré comme devant s’étendre à l’ensemble du monde cinématographique italien, et ses caractéristiques à l’écran sont censées fournir l’image d’une société fasciste idéale.Après avoir analysé la mise en place du film de guerre italien dans ses discours, ses institutions et ses circulations internationales, ce travail examine les réponses de la production cinématographique. Il se clôt sur la perception du genre de guerre, ses spectateurs, sa réception et sa publicité. Il montre que les films de guerre de la période forment un lieu où coexistent de nombreux objectifs servant des groupes variés. Reposant en grande partie sur des archives d’Etat et de cinéastes, ce travail se concentre sur des études de cas de producteurs (Scalera, Bassoli Film), de réalisateurs (Goffredo Alessandrini, Mario Camerini, Francesco De Robertis, Augusto Genina, Romolo Marcellini, Roberto Rossellini), de scénaristes (Asvero Gravelli, Gian Gaspare Napolitano) et de réception de films particuliers. Cette étude des réponses multiples aux demandes d’un système totalitaire en formation dans le champ cinématographique entend contribuer au débat historiographique sur l’adhésion populaire au fascisme, en en élargissant les paramètres. En outre, bien que le genre joue un rôle central dans le développement de l’industrie cinématographique nationale, ce travail démontre cependant la nécessité d’interpréter ces films en termes transnationaux et non comme simples produits politiques et nationaux
This thesis analyses the fictional war films produced in Fascist Italy from 1935 to 1943, from the Ethiopian war to the end of WWII. It argues that this genre functioned as a laboratory for the anthropological renewal of Italy in the Fascist totalitarian experiment. Fascist critics celebrated it as a cinematic and social model that had to be applied to the whole Italian film world, and whose on-screen features were to become the mirror image of an ideal Fascist society. After tracing the foundations of the Italian war film genre (critical debates, international circulation), the thesis interrogates the positioning of film professionals in relation to Fascist cultural policies. Lastly, it redefines the genre in terms of its interactions with Italian viewers and through advertisement. This thesis shows that war films of the period constitute a contested site serving multiple purposes for multiple groups. Relying primarily on archival material from Italy’s state archives and filmmakers’ private papers, this work presents several case studies of producers (Scalera, Bassoli Film), directors (Goffredo Alessandrini, Mario Camerini, Francesco De Robertis Augusto Genina, Romolo Marcellini, Roberto Rossellini), screenwriters (Asvero Gravelli, Gian Gaspare Napolitano) and reception of specific films. A study of the multiple responses to the demands of an aspiring totalitarian system, both from the point of view of film consumption and filmmaking, contributes to the historiographical debate on Fascism by broadening the parameters of the longstanding debate on popular consent for the regime. In addition, this work demonstrates the need to interpret these films in a transnational perspective and not as mere political and national products

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21

Dayan, Hélène. "La représentation du Pouvoir depuis 1990 par les réalisateurs Italiens : un nouveau cinéma politique engagé?" Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030176.

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Comment considérer le cinéma italien des vingt dernières années ? Si en France il est associé à quelques réalisateurs qui luttent contre Berlusconi et contre un système politique et économique corrompu, tels que Roberto Benigni, Nanni Moretti, Sabina Guzzanti, et plus récemment Paolo Sorrentino ou Matteo Garrone, il ne trouve pas la même estime chez ses compatriotes qui, comme en témoignent les résultats du box-office, le considèrent tout au plus comme un moyen de divertissement. La critique des deux pays s’accorde cependant pour dire que l’on assiste depuis une dizaine d’années à un retour du cinema d’impegno (cinéma d’engagement) cher aux réalisateurs des années 1960-1970. Sorrentino et Garrone auraient repris respectivement les flambeaux de Elio Petri et de Francesco Rosi… Peut-on parler d’une nouvelle vague de cinéastes engagés et d’un nouveau cinéma politique italien ? Pour répondre à cette question, nous nous sommes penchés sur quatre films en particulier qui traitent de thèmes explicitement politiques et proposent une représentation de l’homme de Pouvoir différente de celle officielle : Il portaborse de Daniele Luchetti, Il Caimano de Nanni Moretti, Il Divo de Paolo Sorrentino et Qualunquemente de Giulio Manfredonia. Après avoir analysé la façon dont l’homme de Pouvoir est dépeint par ces cinéastes, nous avons essayé de comprendre si ces films sont l’expression d’un engagement réel et d’une volonté de dénonciation ou s’ils répondent à la demande d’une économie de marché et au besoin d’entendre un discours rassurant de la part du public. Dans une société où dire du mal de Berlusconi a permis à certains de s’enrichir et de se faire connaître, et où les systèmes de production et de distribution cinématographiques semblent verrouillés, l’existence d’un véritable cinéma politique est problématique. Il semble en effet difficile d’envisager qu’une œuvre exprime une opposition si elle est acceptée et financée par les entreprises de l’homme qu’elle critique. Face à ce contexte et aux témoignages de nombreuses personnalités du cinéma, nous avons cherché à comprendre si le sens et les critères sur lesquels repose la notion de cinéma politique sont à redéfinir
How can we consider the Italian cinema of these past twenty years? In France it is associated with a few movie directors such as Roberto Begnini, Nanni Moretti, Sabina Guzzanti and more recently Paolo Sorrentino or Matteo Garrone, who fight against Berlusconi and a corrupt political and economic system, but it isn't received with such esteem in Italy where it is considered at the most as a means of entertainment, as indicated by box-office results.In both countries, reviewers however agree to say that for about ten years we have been witnessing a return to a « cinema d'impegno » (politically-motivated films), a form of cinema which is dear to the directors of the 60´s and 70's. Sorrentino and Garrone would have respectively taken over from Elio Petri and Francesco Rosi... Can we talk about a new wave of politically and socially-aware movie directors and about a new political Italian cinema? To answer this question, we have been studying four films in particular, which deal with themes that are explicitly political and which offer a different representation of the man of Power from the official one.: Il portaborse by Daniele Luchetti, Il Caimano by Nanni Moretti, Il Divo by Paolo Sorrentino and Qualunquemente by Giulio Manfredonia. After analysing the way the man of Power is depicted by these movie directors, we have tried to understand if these films are the expression of a real political commitment and of a will to denounce or if they only meet the demand of a market economy and the need for people to hear a reassuring speech. In a society where speaking badly of Berlusconi has allowed some to grow richer and make themselves known, and where movie production and distribution systems seem closed, the very existence of a political cinema appears problematic. Indeed, it seems difficult to consider that a cinematographic work can express some opposition if this work is accepted and financed by the undertakings of the man it criticizes. Faced with this context and with the testimonies of numerous leading figures of Italian cinema, we have been trying to understand if the meaning and the criteria on which the notion of political cinema is based have to be redefined

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22

Ferrero-Regis, Tiziana y n/a. "Public History, Private Memories: Historical Imagination in the New italian Cinema 1988-1999". Griffith University. School of Film, Media and Cultural Studies, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20050209.083648.

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The concern with the following arguments started during a study of national and international cinemas, from the desire to account for a cinema that internationally was doing well, but was undervalued domestically. The aims were to account for the renewal of Italian filmmaking from 1988, the New Italian cinema, and understand the conditions behind this renewal. The thesis identifies in the historical theme and in the recurrence of features from Italian cinema history elements of coherence with previous cinema production. The first consideration that emerges is that a triangulation between a new generation of filmmakers, their audience and recent history shaped the recovery of Italian cinema from 1988. A second consideration is that no discussion of Italian cinema can be separated from a discussion of that which it represents: Italian society and politics. This representation has not only addressed questions of identity for a cohort of spectators, but on occasions has captured the attention of the international audience. Thus the thesis follows a methodologic approach that positions the texts in relation to certain traditions in Italian filmmaking and to the context by taking into consideration also industrial factors and social and historical changes. By drawing upon a range of disciplines, from political history to socio-psychological studies, the thesis has focussed on representation of history and memory in two periods of Italian film history: the first and the last decade of twentieth century. The concern has been not so much to interpret the films, but to understand the processes that made the films and how spectators have applied their knowledge structures to make meaning of the films. Thus the thesis abstains from ascribing implicit meanings to films, but acknowledges how films project cultural contingencies. This is because film is shaped by production conditions and cultural and historical circumstances that make the film intelligible. As Bordwell stated in Making Meaning, "One can do other things with films besides 'reading' them" (1989, p. xiii). Within this framework, the thesis proposes a project that understands history film within the norms that govern Italian filmic output, those norms that regulate conditions of production and consumption and the relation between films from various traditions.

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23

Ferrero-Regis, Tiziana. "Public History, Private Memories: Historical Imagination in the New italian Cinema 1988-1999". Thesis, Griffith University, 2004. http://hdl.handle.net/10072/366053.

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The concern with the following arguments started during a study of national and international cinemas, from the desire to account for a cinema that internationally was doing well, but was undervalued domestically. The aims were to account for the renewal of Italian filmmaking from 1988, the New Italian cinema, and understand the conditions behind this renewal. The thesis identifies in the historical theme and in the recurrence of features from Italian cinema history elements of coherence with previous cinema production. The first consideration that emerges is that a triangulation between a new generation of filmmakers, their audience and recent history shaped the recovery of Italian cinema from 1988. A second consideration is that no discussion of Italian cinema can be separated from a discussion of that which it represents: Italian society and politics. This representation has not only addressed questions of identity for a cohort of spectators, but on occasions has captured the attention of the international audience. Thus the thesis follows a methodologic approach that positions the texts in relation to certain traditions in Italian filmmaking and to the context by taking into consideration also industrial factors and social and historical changes. By drawing upon a range of disciplines, from political history to socio-psychological studies, the thesis has focussed on representation of history and memory in two periods of Italian film history: the first and the last decade of twentieth century. The concern has been not so much to interpret the films, but to understand the processes that made the films and how spectators have applied their knowledge structures to make meaning of the films. Thus the thesis abstains from ascribing implicit meanings to films, but acknowledges how films project cultural contingencies. This is because film is shaped by production conditions and cultural and historical circumstances that make the film intelligible. As Bordwell stated in Making Meaning, "One can do other things with films besides 'reading' them" (1989, p. xiii). Within this framework, the thesis proposes a project that understands history film within the norms that govern Italian filmic output, those norms that regulate conditions of production and consumption and the relation between films from various traditions.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Film, Media and Cultural Studies
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24

Givois, Ève. "Les Représentations audiovisuelles françaises de migrants italiens, espagnols et portugais (1945-1974)". Thesis, Paris 1, 2019. http://www.theses.fr/2019PA01H038.

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Les migrants italiens, espagnols et portugais ont fait l’objet de nombreuses représentations audiovisuelles françaises de 1945 à 1974, conditionnées par l’évolution des rapports diplomatiques entretenus par la France avec les pays d’origine de ces populations, par les structures médiatiques en place dans l’Hexagone et par les ajustements de la politique française d’immigration. Après une étude des genres, des formats et des auteurs de ces représentations télévisuelles et cinématographiques en première partie, les deuxième et troisième parties de cette thèse retracent leurs évolutions. Depuis les lendemains de la Libération jusqu’en 1962, les migrants italiens, espagnols ou portugais des écrans se partagent entre figures du peuple et artistes nés. Les images d’Espagnols évoluent alors en fonction des changements de l’attitude de la France à l’égard de l’Espagne franquiste, celles d’Italiens se développent à la faveur des accords cinématographiques de coproduction entre la France et l’Italie, tandis que celles de Portugais restent marginales. En 1962, quand la télévision gagne en importance, ces représentations se cristallisent et se politisent. Des figures stéréotypées de migrants italiens, espagnols et portugais s’affirment. Le gouvernement cherche à utiliser la télévision pour évoquer ces migrations favorisées, tandis que les exilés politiques, espagnols et portugais surtout, notamment des artistes, sont de plus en plus filmés, comme les luttes et soutiens aux immigrés se développant alors
The Italian, Spanish and Portuguese migrants were the subject of many French audiovisual performances from 1945 to 1974, conditioned by the evolution of the diplomatic relations maintained by France with the countries of origin of these populations, by the media structures in place in France and by the adjustments of the French immigration policy. After a study of types, formats and authors of these television and cinematographic representations in the first part, the second and third parts of this thesis retrace their evolutions. From the aftermath of the Liberation until 1962, Italian, Spanish or Portuguese migrants from the screens are divided between working class’ figures and born artists. The images of Spaniards evolve then according to the changes of the attitude of France toward Franco's Spain, those of Italians develop in favor of the co-production film agreements between France and Italy, while those of Portuguese remain marginal. In 1962, when television became more important, these representations crystallized and became politicized. Stereotypical figures of Italian, Spanish and Portuguese migrants assert themselves. The French government seeks to use television to evoke these favored migrations, while political exiles, Spanish and Portuguese in particular, especially artists, are more and more filmed, as the struggles and supports to immigrants

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25

Ferrero-Regis, Tiziana. "Public history, private memories: Historical imagination in the new Italian cinema 1988-1999". Thesis, Griffith Univeristy, 2003. https://eprints.qut.edu.au/92669/1/My%20PhD.pdf.

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The concern with the following arguments started during a study of national and international cinemas, from the desire to account for a cinema that internationally was doing well, but was undervalued domestically. The aims were to account for the renewal of Italian filmmaking from 1988, the New Italian cinema, and understand the conditions behind this renewal. The thesis identifies in the historical theme and in the recurrence of features from Italian cinema history elements of coherence with previous cinema production. The first consideration that emerges is that a triangulation between a new generation of filmmakers, their audience and recent history shaped the recovery of Italian cinema from 1988. A second consideration is that no discussion of Italian cinema can be separated from a discussion of that which it represents: Italian society and politics. This representation has not only addressed questions of identity for a cohort of spectators, but on occasions has captured the attention of the international audience. Thus the thesis follows a methodologic approach that positions texts in relation to certain traditions in Italian filmmaking and to the context by taking into consideration also industrial factors and social and historical changes. By drawing upon a range of disciplines, from political history to socio-psychological studies, the thesis has focussed on representation of history and memory in two periods of Italian film history: the first and the last decade of twentieth century. The concern has been not so much to interpret the films, but to understand the processes that made the films and how spectarors have applied their knowledge structures to make meaning of the films. Thus the thesis abstains from ascribing implicit meanings to films, but acknowledges how films project cultural contingencies. This is beacause film is shaped by production conditions and cultural and historical circumstances that make the film intelligible. As Bordwell stated in Making Meaning, "One can do other things with films besides 'reading' them" (1989, p. xiii). Within this framework, the thesis proposes a project that understands history films with the norms that govern Italian filmic output, those norms that regulate conditions of production and consumption and the relation between films from various traditions.

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26

Desole, Angelo Pietro. "La fotografia industriale in Italia. 1933-1965". Doctoral thesis, Università degli studi di Padova, 2014. http://hdl.handle.net/11577/3423801.

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The theme of the research the industrial photography in Italy frome 1933 to 1965. A period of Italian history marked by really significant changes, especially from issues related to the economy. About the methodology, the research considers the photograph not as an aesthetic object , but as part of a broader cultural path followed by the company in those years. In particular, the industrial photography has considered as a whole ideological product of large companies, made for propaganda purposes and to create an identity. The work is divided mainly into four historical chapters that identify as many temporal segments, which is accompanied by an introduction and a brief conclusion. The first chapter, from 1933 to 1939, shows how since the birth of IRI the industrial photograph knows a booming, thanks also to the great cultural ferment in all the arts and to the influence of German avant-garde. The second chapter, from 1940 to 1947, deal with the industrial photography during the second world war, analyzing the problems that led to a considerable loss of linguistic values built in the previous decade. The third chapter studies the period from 1948 to 1958, showing as the industrial photography, following the economic boom after the Reconstruction, has known her most interesting years. Chapter 1959-1965 focuses on the concerns that led to the season of the dispute, thus closing, even for the industrial photography, the historic years of its maximum expression.
La ricerca ha come tema la fotografia industriale in Italia dal 1933 al 1965. Un periodo della storia italiana segnato da importanti cambiamenti, soprattutto per gli aspetti legati all’economia. Dal punto di vista della metodologia il lavoro considera la fotografia non come oggetto estetico, ma come parte di un più ampio percorso culturale seguito dalla società in quegli anni. In particolare si pensa alla fotografia industriale come a un complesso prodotto ideologico delle grandi aziende, realizzato con scopi di propaganda e creazione d’identità. Il lavoro è suddiviso principalmente in quattro capitoli storici che identificano altrettanti segmenti temporali, ai quali si accompagna un’introduzione e una brevissima conclusione. Il primo capitolo, dal 1933 al 1939, mostra come dalla nascita dell’IRI in poi la fotografia conosca una forte espansione, merito anche del grande fermento culturale in tutte le arti e dell’influenza delle avanguardie tedesche. Il secondo capitolo, dal 1940 al 1947, si occupa della fotografia industriale durante la guerra, analizzando i problemi che portarono a una notevole perdita dei valori linguistici costruiti nel decennio precedente. Il terzo capitolo, dal 1948 al 1958 studia come la fotografia industriale, seguendo il boom economico del periodo seguente alla ricostruzione, abbia conosciuto i suoi anni più ricchi. Il capitolo dal 1959 al 1965 si concentra sulle inquietudini che portarono alla stagione della contestazione, chiudendo così, anche per la fotografia industriale, gli anni storici della sua massima espressività.

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27

Henry, Christel. ""A cidade das flores " : pour une réception culturelle au Portugal du cinéma néoréaliste italien comme métaphore possible d'une absence". Caen, 2002. http://www.theses.fr/2002CAEN1350.

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Notre thèse se propose d'étudier la réception critique du cinéma néoréaliste italien entre 1945 et 1959 au Portugal. Notre intérêt s'est focalisé essentiellement sur les essais et les recueils de critiques dédiés au cinéma italien, présentant ainsi une synthèse de la presse quotidienne et culturelle de cette période, sur la presse spécialisée et enfin sur le circuit des ciné-clubs, véritable promoteur de ce mouvement. Le néoréalisme cinématographique italien servit de prétexte aux intellectuels portugais pour instaurer une Résistance passive à travers des écrits qui, quand ils ne constituaient pas de véritables traités de poésie, oscillaient entre une attitude épigone et une instrumentalisation idéologique. Le circuit des ciné-clubs, en particulier, eut un rôle prépondérant dans la diffusion du phénomène néoréaliste italien qu'il divulgua avec l'objectif de former les consciences de leurs membres aussi bien au niveau idéologique, politique et social que cinématographique.

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28

Turina, Romana. "The moving image and historical amnesia : Trieste, Italian cinema and the creative remediation of silenced history". Thesis, University of York, 2018. http://etheses.whiterose.ac.uk/21681/.

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The thesis presents a case of silenced history and its mediation in the film form. It is composed of three sections: a history of the Italian cinema and television production that portrayed Trieste and its history between 1909 and 2010; the exploration of the key theories, archival research, and previous film productions that influenced the development process of three films presenting the author’s creative practice, here included; and the critical reflection on the creative practice, in a dialogue with the research in the history of Italian cinema and relevant key theories.

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29

Pourvali, Bamchade. "L'"Essai filmé" comme forme de la modernité cinématographique, 1953-1997". Thesis, Paris Est, 2014. http://www.theses.fr/2014PEST0034.

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La modernité cinématographique désigne une remise en cause de la représentation classique au moment de la Seconde Guerre mondiale qui se manifeste par un retour au documentaire. Celui-ci se traduit de deux manières : au sein du cinéma hollywoodien, comme en témoignent la fin du Dictateur de Charlie Chaplin et le début de Citizen Kane d’Orson Welles; et dans l’Europe de l’après-guerre avec le néo-réalisme italien. Dans ce contexte, la critique cinématographique définit l’essai comme une des finalités du cinéma moderne alliant ontologie et langage comme en témoignent les textes d’Alexandre Astruc, André Bazin ou Jacques Rivette. Au milieu des années 1950, le cinéma moderne propose une épure de ces formes cinématographiques avec, d’une part, Nuit et Brouillard d’Alain Resnais, film emblématique de « l’école française du court métrage » et, d’autre part, Voyage en Italie de Roberto Rossellini, affirmation d’un « néo-réalisme plus pur », selon les termes de son auteur. En 1963, deux films français sont à la fois les héritiers du cinéma classique américain et le point de départ d’une réflexion plus approfondie sur l’essai cinématographique, il s’agit de La Jetée de Chris Marker et du Mépris de Jean-Luc Godard. C’est à travers l’étude comparée du parcours de ces deux cinéastes que nous nous proposons de définir l’essai cinématographique comme une forme liée à l’histoire d’un art à un moment particulier. C’est ainsi que l’essai qui connaît ses premières grandes réussites dans les années 1960 se développera dans les années 1990 autour du centenaire du cinéma. De nouveaux enjeux associés à la modernité cinématographique se dessinent alors entre le Nord et le Sud, l’Est et l’Ouest, dans ce passage d’un siècle à l’autre du cinéma
In the field of cinematic studies, modernity refers to the attempts to challenge classical modes of representations at the time of the Second World War, which take the form of a return to the documentary. This process takes two expressions: one runs through Hollywood productions, for instance the opening scene of Chaplin’s Great Dictator and the conclusion of Orson Welles’ Citizen Kane; the other is apparent in post-war Europe with Italian neorealism. In this context, film criticism defines the essay as one of the objects of modern cinema, joining ontology to language, as described in the works of Alexandre Astruc, André Bazin or Jacques Rivette. In the middle of the 1950s, modern cinema offers striking examples of these cinematographic forms with, on the one hand Alain Resnais’ Night and Fog, a film which is typical of “the French school of short films”, and on the other hand Roberto Rossellini’s Journey to Italy, which its author has described as the expression of “a refine form of neorealism”. In 1963, two French films are at once heirs to the tradition of classic American cinema and the start of a deeper reflection on the cinematographic essay, Chris Marker’s The Jetty and Jean-Luc Godard’s Contempt. By comparing the evolution of both these directors we will attempt to define the cinematographic essay as form closely linked to a certain moment in the history of cinema. Thus the essay, after producing its first major works in the 1960s will develop during the 1990s around the time of the hundredth anniversary of cinema. New stakes arise at that time to define cinematographic modernity between North and South, East and West, as cinema enters a new century

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30

Caoduro, Elena. "Interconnected memories : left-wing terrorism in postmillennial German and Italian cinema (2000-2010)". Thesis, University of Southampton, 2014. https://eprints.soton.ac.uk/374393/.

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This thesis examines the representation of left-wing political violence in Italian and German films from 2000 to 2010 drawing on postmodernism theory, film genre, memory studies and gender theory. It considers filmic texts and paratexts, historiography and political discourses to offer a comparative analysis of the mnemonic dynamics in new millennial Italy and Germany. This thesis looks at why the experience of revolutionary terrorism in the 1970s reappears at the turn of the new millennium in a cluster of fiction films, which innovate and sometimes challenge previous paradigms. It reads this revival in connection with industrial trends and historical events, such as the end of old ideologies, the early release of former terrorists and 9/11. The memory of left-wing terrorism has found new lifeblood in the new millennium because there are ample resonances with contemporary social issues, such as political activism and global fears of international terrorism. Focusing on eight case studies, I argue that the memory of left-wing terrorism unfolds beyond and across temporal and spatial boundaries, reactivated by present-day occurrences and through contacts with other traumatic memories. The notion of ‘interconnected memory’ is fundamentally conceived as a nexus of multiple meanings, the fruit of past recollections, and movements between different socio-historical dimensions and generational memories. Representational strategies and narrative trends are also explored to shed light on crossnational forms of memorialising political violence and its legacy. The first part analyses how postmillennial films deal with the possibility of forgiveness, here interpreted as an approach to normalise the past through narratives of pacification or exclusion. It highlights the figure of the teenager as a metaphor for the changing memory of terrorism, generational conflicts and the implications of 1970s violence for young generations. Moreover, it discusses the depiction of female terrorists and the containment strategies adopted to mitigate the anxiety for terrorist acts perpetrated by violent women. The second part of this thesis is concerned with the risks of forgetting and more precisely on an aesthetic normalisation of the terrorist discourse through popular genres and a more commercial style. It comments on the hyper-authenticity and retro aesthetics in biopics about notorious terrorist groups, and the spectacularisation of violence via the thriller and heritage film genre. It also investigates how contemporary comedies satirise the phenomenon of anarchist revolts and political kidnappings to reflect on present-day social problems.

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31

Ortoli, Philippe. "La plaie à vif : le héros tragique à travers l'analyse filmique de quelques westerns américains et italiens". Aix-Marseille 1, 1996. http://www.theses.fr/1997AIX10003.

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Pour decouvrir comment se definit le heros tragique dans le western, il nous a semble pertinent de pratiquer une rigoureuse analyse filmique (decoupages "plan par plan", croquis explicatifs) des oeuvres dans lesquelles il s'est le plus illustre. Nous les avons effectivement envisagees comme une mythologie singuliere, ou, sous diverses defroques, apparait notre figure. Loin de toute perspective chronologique, le regroupement des films a donc ete propose par la facon dont s'y presentait l'evolution interne du heros et de sa mission. Qu'y lit-on? en premier lieu (la premiere partie: "l'homme de nulle part", exemple: l'homme des vallees perdues), il s'apparente a un cavalier solitaire aidant une communaute a lutter contre des "mechants" pour creer une societe dont il sera automatiquement rejete, car l'exclusivite de sa fonction lui interdit de se fixer et d'endosser la carapace d'un citoyen. Puis, lorsque les grands espaces se muent en villes (la deuxieme partie: "le retour du banni", exemple: le train sifflera trois fois), il devient un etre soucieux d'une stabilite sociale que viennent lui contester des agresseurs exterieurs, le forcant a constater sa singularite, au moment d'un combat que lui seul peut assumer. C'est tout naturellement qu'il se retrouve ensuite, dans un ouest embourgeoise, vagabond erratique a la recherche d'une action qui ressemble a son identite perdue (la troisieme partie: "l'appel du vide", exemple: la horde sauvage).

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32

Murcier, Bertrand. "Le temps dans les films de Luchino Visconti". Paris 8, 1997. http://octaviana.fr/document/174377177#?c=0&m=0&s=0&cv=0.

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Quelle image du temps des modeles philosophiques ou empiriques permettent-ils de definir dans les films de visconti, cineaste de la duree et de la rupture, de la crise familiale ou intime, de la representation d'epoques en mutation ? l'hypothese d'un temps dialectique doit etre ecartee : la temporalite vectorisee des films les plus progressistes est doublee par des configurations repetitives et cycliques, l'irruption du temps historique perturbe toute homogeneite, et le travail de relecture ou de reecriture de l'histoire par la fiction paracheve le demembrement du modele accumulatif et totalisant. D'ou une reconsideration de la notion de decadence, hors dialectique, sous l'angle d'une semiotique des intensites d'inspiration nietzscheenne. Nietzsche intervient positivement comme operateur de lecture de la temporalite filmique. Bien que son influence directe soit douteuse et sa presence figurative ou textuelle limitee, sa trace est reperable a travers des filtres culturels et l'inscription d'un retournement du platonisme. Plus largement, sa tripartition de l'histoire est reprise et la maladie historique conjuree par des formes transversales : picturalisation, deshistoricisation, interiorisation. Quant a la question du retour, deployee thematiquement sous sa version negative, elle est surtout irradiee dans des fragments filmiques ou s'expose un temps paradoxal et non circulaire, a travers l'epreuve d'un enfin trop tard. Mais la temporalite viscontienne n'est pas reductible a un eclairage nietzscheen. Elle peut etre apprehendee plus frontalement avec de grandes formations de la modernite post-nietzscheenne. Le simulacre, la mythification et le fragmentaire concourent a definir une temporalite spiralaire, dont les instruments de relance sont reconduits de film en film. Ainsi se dessine l'image d'un cineaste intempestif, contraignant a reevaluer la fecondite de categories esthetiques dominantes, renvoyant aussi a l'inquietante difficulte d'habiter le temps
Visconti stands foremost among the poets of disruption and duration. May philosophical or empirical patterns will enable us to bring out the images of time that shaped his rendering of personal or familial crises swept by the turmoils of history ? the pattern of dialectical time won't do : even his most linear, final or progressive films rely on seminal cycles and repetitions. As historical time casts asunder every attempt at homogeneity, the fictional reading or rewriting of history disrupts the unifying drive of totalization and accumulation. Visconti's reluctance to consider history as progress accounts for his reliance on the nietzschean semiotics of decadence tending towards a definition of values in terms of intensity. Even if nietzsche exerted little direct influence on visconti, nietzschean concepts do open new avenues in the reading of visconti's film- forms. Textual or figurative references to him are scarce. But the cultural filters implemented by visconti and his insistence on a total reversal of platonism hark back to his trinitarian vision of history : time and again, the ghost of history as our common disease is dispelled by the building of tranversal forms. Nietzsche's celebration of return, thematically developped in its negative version, reaches its apex in the aura of filmic fragments inwardly hallowed by a paradoxical vision of a time which is neither linear nor circular. That vision is centered on the tragic relief that comes at the end of the ordeal, when it is too late at last. Yet visconti's treatment of time cannot be accounted in perspectives. Direct access to it can be gained in terms of post-nietzschean modernity : the interplay of shams, the mythopoetic drive and the power of fragmentation led us to define time in visconti as an endless spiral whose ends he endeavours to pick film after film. Timelessness has to be untimely. Visconti's reevaluation of current aesthetic categories shadows our disquietude as dwellers in time

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33

MUSCOLINO, MARCO. "LA "RIVISTA DEL CINEMATOGRAFO": UNA STORIA CULTURALE, 1928-2008". Doctoral thesis, Università Cattolica del Sacro Cuore, 2009. http://hdl.handle.net/10280/630.

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La «Rivista del Cinematografo» è un periodico longevo, il più longevo della storia del cinema italiano. Pubblicato a partire dal 1928, festeggia nel 2008 l’ottantesimo l’anniversario di vita. A dispetto di questa durevole presenza nel panorama editoriale italiano, la «Rivista del Cinematografo» rappresenta però una storia che è rimasta, e lo rimane ancora oggi, esclusa dai discorsi sociali. Il pre-giudizio storico da cui prende le mosse la presente ricerca individua invece – differentemente dalla vulgata “ufficiale” – la «Rivista del Cinematografo» non come “una storia a sé”, ma al contrario come una storia culturale in grado di illuminare in maniera significativa i processi storici del cinema italiano, con particolare – ma nient’affatto esclusivo – riferimento alle sue interrelazioni con la cultura cattolica. Si potrebbe dire, con una formula sintetica, che quella della «Rivista del Cinematografo» è una microstoria di lunga durata. Quest’ultima definizione può apparire contraddittoria perché accosta due categorie legate a due differenti tradizioni storiografiche: da una parte la microstoria, legata a una tradizione fattografica; dall’altra la lunga durata, legata a una tradizione teorico-esplicativa. Ma è proprio nell’ambito di una nuova concezione della storia – la cosiddetta storia culturale – che questa ricerca intende muoversi, nel tentativo di fare tesoro di un dibattito disciplinare che ha conosciuto un enorme sviluppo in questi ultimi anni, e che verrà discusso nella sezione introduttiva, analizzando le ricadute che esso ha sulla pratica storiografica in ambito cinematografico.
The «Rivista del Cinematografo» is the most ancient magazine in the Italian history of cinema. Published before 1928, in 2008 it celebrated its 80th anniversary. In spite of this long-lived presence in Italian publishing, the «Rivista del Cinematografo» represents a history left out in social discourses. This research considers instead the «Rivista del Cinematografo» as a cultural history that can illuminate the historical processes of the Italian cinema with particular – but not exclusive – reference to their relationships with the catholic culture. It could be said that the history of the «Rivista del Cinematografo» is a long duration microhistory. This definition can appear conflicting because it puts two categories that come from two different historical traditions near to each other: the microhistory and the long duration. But this research intends to explore a new historical perspective – the ‘so called’ cultural history – with the aim of learning from a debate which has developed enormously in recent years and analysing the consequences that this debate also has on the historical practice in the field of cinema.

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34

MUSCOLINO, MARCO. "LA "RIVISTA DEL CINEMATOGRAFO": UNA STORIA CULTURALE, 1928-2008". Doctoral thesis, Università Cattolica del Sacro Cuore, 2009. http://hdl.handle.net/10280/630.

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La «Rivista del Cinematografo» è un periodico longevo, il più longevo della storia del cinema italiano. Pubblicato a partire dal 1928, festeggia nel 2008 l’ottantesimo l’anniversario di vita. A dispetto di questa durevole presenza nel panorama editoriale italiano, la «Rivista del Cinematografo» rappresenta però una storia che è rimasta, e lo rimane ancora oggi, esclusa dai discorsi sociali. Il pre-giudizio storico da cui prende le mosse la presente ricerca individua invece – differentemente dalla vulgata “ufficiale” – la «Rivista del Cinematografo» non come “una storia a sé”, ma al contrario come una storia culturale in grado di illuminare in maniera significativa i processi storici del cinema italiano, con particolare – ma nient’affatto esclusivo – riferimento alle sue interrelazioni con la cultura cattolica. Si potrebbe dire, con una formula sintetica, che quella della «Rivista del Cinematografo» è una microstoria di lunga durata. Quest’ultima definizione può apparire contraddittoria perché accosta due categorie legate a due differenti tradizioni storiografiche: da una parte la microstoria, legata a una tradizione fattografica; dall’altra la lunga durata, legata a una tradizione teorico-esplicativa. Ma è proprio nell’ambito di una nuova concezione della storia – la cosiddetta storia culturale – che questa ricerca intende muoversi, nel tentativo di fare tesoro di un dibattito disciplinare che ha conosciuto un enorme sviluppo in questi ultimi anni, e che verrà discusso nella sezione introduttiva, analizzando le ricadute che esso ha sulla pratica storiografica in ambito cinematografico.
The «Rivista del Cinematografo» is the most ancient magazine in the Italian history of cinema. Published before 1928, in 2008 it celebrated its 80th anniversary. In spite of this long-lived presence in Italian publishing, the «Rivista del Cinematografo» represents a history left out in social discourses. This research considers instead the «Rivista del Cinematografo» as a cultural history that can illuminate the historical processes of the Italian cinema with particular – but not exclusive – reference to their relationships with the catholic culture. It could be said that the history of the «Rivista del Cinematografo» is a long duration microhistory. This definition can appear conflicting because it puts two categories that come from two different historical traditions near to each other: the microhistory and the long duration. But this research intends to explore a new historical perspective – the ‘so called’ cultural history – with the aim of learning from a debate which has developed enormously in recent years and analysing the consequences that this debate also has on the historical practice in the field of cinema.

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35

Augusto, Celina Vivian Lima. "O gênero cinematográfico commedia all\'italiana: uma proposta de estudo". Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8148/tde-24102014-164441/.

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O presente trabalho é uma reflexão acerca do gênero cômico cinematográfico denominado commedia all\'italiana. Para essa pesquisa, primeiramente, acompanhamos a evolução do cinema cômico italiano desde seus primórdios até o fenômeno estudado. Na formação do cinema cômico, aludimos não só à importância da contribuição da vertente teatral - através da commedia dell\'arte - como também dos atores cômicos do primeiro cinema, do período conhecido como telefoni bianchi, de figuras como Totò, Carlo Ludovico Bragaglia e Mario Mattoli, além da fase denominada neorrealismo rosa. Desse modo, através do percurso anterior à commedia all\'italiana, procuramos estabelecer sua inserção na tradição cômica da Itália. Também foram considerados aspectos importantes do contexto históricosocial à época do surgimento e consolidação desse gênero cômico popular do cinema italiano. Procuramos resgatar as origens e fontes da commedia all\'italiana, focalizando as diferentes fases que a compuseram e as principais filmografias que a evidenciaram. Ainda nesse momento, traçamos seus percursos e suas particularidades, percorremos a trajetória de seu surgimento e focalizamos algumas de suas características intrínsecas. Trouxemos a discussão de três momentos emblemáticos na história do gênero ao trabalharmos com três obras fílmicas significativas de diretores e fases diversas, apresentando alguns dos aspectos presentes na commedia all\'italiana e ressaltando questões que se mostraram pertinentes na construção de um senso crítico nas obras desse gênero
This dissertation explores the comic genre in Italian cinema known as commedia allitaliana. First, we accompanied the evolution of Italian comic cinema from its beginnings up to the phenomenon studied. In the formation of comic cinema, we alluded not only to the importance of the contribution of theatre - through the commedia dellarte - but also to the first silent comic actors in cinema from the period known as telefoni bianchi, including such figures as Totò, Carlo Ludovico Bragaglia and Mario Mattoli. We also traced the influence of the phase known as pink neorealism. In this way, through an analysis of comic genres before commedia allitaliana we aimed to insert it in the entire Italian comic tradition. We also considered the important historical and social contexts of the era in which this popular comic genre arose and consolidated itself. We attempted to rescue the origins and sources of commedia all\'italiana, focusing on the different phases that composed it and its principal films. We charted its emergence, traced its development and peculiarities and stressed some of its intrinsic characteristics. We highlighted three emblematic moments in the history of the genre through an analysis of three significant films from diverse phases and directors, showing some of the main aspects present in commedia all\'italiana and emphasizing the pertinent questions for a critical approach to works in the genre

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36

Paolillo, Costanza. "Ferrania. Un’impresa, una rivista : industria fotografica e lavoro culturale dagli albori della società dello spettacolo italiana". Doctoral thesis, Scuola Normale Superiore, 2019. http://hdl.handle.net/11384/85764.

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37

Lluró, Josep M. "Pasolini en context: Trauma, memòria, identitat i història cultural a la Itàlia de postguerra". Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/396253.

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Pasolini va conceptualitzar en la seva obra els processos destructors del capitalisme posterior a la segona guerra mundial. La seva narrativa els enfoca des de la perspectiva dels grups socials dels suburbis degradats els quals van crear una cultura híbrida entre el substrat camperol i les respostes morals a les pressions d una vida urbana. El seu cinema explora la necessitat de reformular els mites humanístics per a fer front a la desertització espiritual i cultural a què ens condemna el consumisme del darrer capitalisme. La seva poesia narra els estralls personals que comporta l enfrontament contra aquests processos de destrucció i contra les convencions socials. El nostre treball pretén seguir el diàleg de Pasolini amb la tradició de pensament crític del marxisme romàntic i contextualitzar l originalitat de la seva obra dins d alguns dels corrents crítics que als anys seixanta qüestionaven la conversió del món en una pura mercaderia.
Throughhiswork, Pasolini conceptualized the destructive processes of post- SecondWorldWarcapitalism. Hisnarrativefocuses on the processes from the perspective of social groupsfromdilapidatedsuburbs: a mass of dispossessedpeoplewhocreated a hybridculturebetween the peasantsubstrataand the moral responses to the pressure of urbanlife.Hiscinematicwork explores the necessity of reforminghumanistmyths in order to combat the spiritualand cultural desertionthatcondemns us to the consumerism of contemporarycapitalism. Hispoetryspeaks of the personal havocthatleads to clashesagainstthesedestructive processes andagainst social conventions. Comingfrom a radical originality, Ourstudyaims to followPasolini sdialoguewiththe RomanticMarxisttradition of criticalthoughtand to bring context to the originality of hisworkwithinsome of the criticaltrends of the 1960s that, questioned the transformation of the worldinto a purelycommercialentity.

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38

PENATI, CECILIA. "Il focolare elettronico. Una storia culturale dell'ingresso della televisione nello spazio domestico (1954-1960)". Doctoral thesis, Università Cattolica del Sacro Cuore, 2011. http://hdl.handle.net/10280/1100.

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Obiettivo della tesi è stato quello di ricostruire una storia culturale della televisione italiana delle origini, concentrandosi sui percorsi attraverso i quali il medium è diventato parte integrante delle routine quotidiane del suo primo pubblico, cercando di dare senso a come la prima audience del piccolo schermo abbia sperimentato l’arrivo della televisione nello spazio della casa, nel corso degli anni di istituzionalizzazione del medium in Italia (1954-1960). Dopo una ricognizione della letteratura scientifica sul tema della domestication dei mezzi di comunicazione, della biografia culturale degli oggetti tecnici e dell’analisi storica delle “culture di visione” della tv, la seconda sezione della tesi prende in esame come il sistema dei media popolari (il discorso pubblicitario, il dibattito pubblico sulla stampa popolare, i paratesti aziendali della Rai) abbia attribuito significati alla televisione, "insegnando" al suo primo pubblico come collocarla nello spazio della casa. La terza sezione della tesi è dedicata a una ricostruzione storica del primo consumo televisivo domestico, svolta attraverso una ricerca etnografica condotta con venti interviste a testimoni che hanno vissuto in prima persona la prima diffusione dei ricevitori e la loro prima collocazione nello spazio della casa.
This dissertation is aimed to outline a cultural history of early Italian television, focusing on the pattern by which TV became part of its first audience’s daily routines, and trying to give sense of how the first public of the small screen experienced the arrival of the television in the space of their homes, in the years of institutionalisation of the new medium (1954-1960). After an overview of the scientific literature that has dealt with the topic of “media domestication”, cultural biography of technical objects, and historical analysis of television’s culture of viewing, the second section of the thesis examines how the system of popular media (mainly advertising, popular press, and broadcaster’s house organs) ascribed meanings to television as a domestic medium and advised its public how to use it. A third section of the dissertation is devoted to understanding the television viewing and consumption in historical perspective, through a ethnographic research developed with twenty in-depth interviews to witnesses that participated directly in the first diffusion and domestication of the TV sets in Italy.

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39

PENATI, CECILIA. "Il focolare elettronico. Una storia culturale dell'ingresso della televisione nello spazio domestico (1954-1960)". Doctoral thesis, Università Cattolica del Sacro Cuore, 2011. http://hdl.handle.net/10280/1100.

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Obiettivo della tesi è stato quello di ricostruire una storia culturale della televisione italiana delle origini, concentrandosi sui percorsi attraverso i quali il medium è diventato parte integrante delle routine quotidiane del suo primo pubblico, cercando di dare senso a come la prima audience del piccolo schermo abbia sperimentato l’arrivo della televisione nello spazio della casa, nel corso degli anni di istituzionalizzazione del medium in Italia (1954-1960). Dopo una ricognizione della letteratura scientifica sul tema della domestication dei mezzi di comunicazione, della biografia culturale degli oggetti tecnici e dell’analisi storica delle “culture di visione” della tv, la seconda sezione della tesi prende in esame come il sistema dei media popolari (il discorso pubblicitario, il dibattito pubblico sulla stampa popolare, i paratesti aziendali della Rai) abbia attribuito significati alla televisione, "insegnando" al suo primo pubblico come collocarla nello spazio della casa. La terza sezione della tesi è dedicata a una ricostruzione storica del primo consumo televisivo domestico, svolta attraverso una ricerca etnografica condotta con venti interviste a testimoni che hanno vissuto in prima persona la prima diffusione dei ricevitori e la loro prima collocazione nello spazio della casa.
This dissertation is aimed to outline a cultural history of early Italian television, focusing on the pattern by which TV became part of its first audience’s daily routines, and trying to give sense of how the first public of the small screen experienced the arrival of the television in the space of their homes, in the years of institutionalisation of the new medium (1954-1960). After an overview of the scientific literature that has dealt with the topic of “media domestication”, cultural biography of technical objects, and historical analysis of television’s culture of viewing, the second section of the thesis examines how the system of popular media (mainly advertising, popular press, and broadcaster’s house organs) ascribed meanings to television as a domestic medium and advised its public how to use it. A third section of the dissertation is devoted to understanding the television viewing and consumption in historical perspective, through a ethnographic research developed with twenty in-depth interviews to witnesses that participated directly in the first diffusion and domestication of the TV sets in Italy.

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40

Habib, André. "Le temps décomposé : cinéma et imaginaire de la ruine". Thèse, 2008. http://hdl.handle.net/1866/6641.

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Silva, Jr Edward Hugh. "Sighs from the depths: rendering trauma and national history in Italian horror cinema". Thesis, 2021. https://hdl.handle.net/2144/42679.

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This thesis examines the development of the surreal and often transgressively lurid aesthetic of Italian horror cinema of the late twentieth century and its connection to the turbulent relationship between the nation’s cinema and its troubled political history. Much of the previous scholarship on Italian horror cinema tends to couch its analysis primarily through the lenses of either its transnational influences or the role of auteurs such as Dario Argento, Mario Bava, Lucio Fulci, Umberto Lenzi, or Riccardo Freda. While both approaches are vital to understanding the construction of Italy’s horror cinema as a robust movement, I argue that they neglect important historical context that can provide insight into the thematic interests that motivate the unique stylization of these texts. Often the focus on Italian horror cinema’s reputation for being mostly composed of cheap imitations of more successful international horror movements can reinforce the narrative of the horror film’s relatively low status within taste culture discourses. Exploitation films particularly fall victim to these stigmas and can have their more potent qualities ignored. Through a historical survey of the formation of Italy’s horror cinema in the aftermath of the political turbulence caused by Benito Mussolini’s Fascist regime and close, formal analysis of foundational Italian horror texts, this thesis argues that the stylistic excesses and indulgences in the grotesque that characterize Italy’s horror cinema upend the viewer’s comfort in spectatorship through confrontational aesthetics of destabilization. The aesthetics of destabilization not only challenge viewer’s passive consumption of such lurid content but also truly make them feel the sensorial destabilization and brutal impact of the violence onscreen. Ultimately, this thesis demonstrates how this stylistic approach is in conversation with Italy’s recent trauma and the inextricability of its national cinema development from this history.

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42

CAVALERI, GIUSEPPE. "Le Cinéma italien en France: Histoire, Société et Diffusion, étudiées à travers les œuvres de Emanuele Crialese, Matteo Garrone et Paolo Sorrentino". Doctoral thesis, 2017. http://hdl.handle.net/10808/26583.

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43

Goodall, Mark D. "Spaghetti savages: cinematic perversions of 'Django Kill'". 2016. http://hdl.handle.net/10454/16122.

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Tesis sobre el tema "Cinéma – Italie – Histoire"

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