Pub Date : 2022-12-31DOI: 10.54103/2532-2486/18423
Sabine Schrader, Antonio Salmeri
«What would Sophia Loren do?» is a question that Nancy Kulik, daughter of Italian immigrants, asked herself many times in her life. Even at a young age, Loren has served her not only as a compass for important choices, but also to create an emotional connection with her Italian heritage. Through its personal approach, the documentary «What would Sophia Loren do?» makes us understand how Kulik is thus representative of a nostalgic migrant’s view of the Italian-American diaspora. This short cinematic homage gives the opportunity to reflect on Sophia Loren’s cult of the star from the perspective of the “transatlantic-gaze” (Carolan McDonald, 2014), gender and time-image (Deleuze, 1991), and not least, “italianità” and “americanità” against the backdrop of the Italian-American migration experience.
{"title":"«Sophia is there. She is going to help you»","authors":"Sabine Schrader, Antonio Salmeri","doi":"10.54103/2532-2486/18423","DOIUrl":"https://doi.org/10.54103/2532-2486/18423","url":null,"abstract":"\u0000\u0000\u0000\u0000«What would Sophia Loren do?» is a question that Nancy Kulik, daughter of Italian immigrants, asked herself many times in her life. Even at a young age, Loren has served her not only as a compass for important choices, but also to create an emotional connection with her Italian heritage. Through its personal approach, the documentary «What would Sophia Loren do?» makes us understand how Kulik is thus representative of a nostalgic migrant’s view of the Italian-American diaspora. This short cinematic homage gives the opportunity to reflect on Sophia Loren’s cult of the star from the perspective of the “transatlantic-gaze” (Carolan McDonald, 2014), gender and time-image (Deleuze, 1991), and not least, “italianità” and “americanità” against the backdrop of the Italian-American migration experience.\u0000\u0000\u0000\u0000","PeriodicalId":248976,"journal":{"name":"Schermi. Storie e culture del cinema e dei media in Italia","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130948327","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-31DOI: 10.54103/2532-2486/19032
Federico Di Chio
From 1946 to 1962, the producers’ share of the rentals of US films in Italy was blocked in Italy. The specific use-cases of these funds – both in the film industry and in other sectors – were codified in a series of agreements which involved both governments. For the firsttime, all six understandings between the trade organizations ANICA and MPAA/MPEA are studied in detail. Based on archival research, the article reconstructs their development and implementation. The agreements, which regulated Italian-American film relations from1951 until 1962, promoted joint productions and supported the distribution of Italian films by US Studios.
{"title":"Gli accordi ANICA-MPEA e l'impiego dei capitali americani nel nostro cinema / PARTE 1 – I primi due accordi e la promozione del cinema italiano all'estero","authors":"Federico Di Chio","doi":"10.54103/2532-2486/19032","DOIUrl":"https://doi.org/10.54103/2532-2486/19032","url":null,"abstract":"From 1946 to 1962, the producers’ share of the rentals of US films in Italy was blocked in Italy. The specific use-cases of these funds – both in the film industry and in other sectors – were codified in a series of agreements which involved both governments. For the firsttime, all six understandings between the trade organizations ANICA and MPAA/MPEA are studied in detail. Based on archival research, the article reconstructs their development and implementation. The agreements, which regulated Italian-American film relations from1951 until 1962, promoted joint productions and supported the distribution of Italian films by US Studios.","PeriodicalId":248976,"journal":{"name":"Schermi. Storie e culture del cinema e dei media in Italia","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128869704","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-31DOI: 10.54103/2532-2486/18656
Enrico Gheller
According to an established historiography, post World War II Italian cinema owes much of its international success to the French intellectual milieu. In this process of reception, the work carried out by exiled Italian intellectuals, who were responsible for promoting neo-realism on the other side of the Alps for diplomatic purposes but without neglecting questions of an aesthetic nature, deserves attention. By relating certain aspects of the socio- historical context with the analysis of some critical texts, this article aims to reconstruct some trajectories of reception of neorealist cinema in the Italian-French press between 1945 and 1950.
{"title":"Un cinema «fuoruscito». Esuli italiani in Francia e ricezione del Neorealismo (1945-1950)","authors":"Enrico Gheller","doi":"10.54103/2532-2486/18656","DOIUrl":"https://doi.org/10.54103/2532-2486/18656","url":null,"abstract":"\u0000\u0000\u0000\u0000According to an established historiography, post World War II Italian cinema owes much of its international success to the French intellectual milieu. In this process of reception, the work carried out by exiled Italian intellectuals, who were responsible for promoting neo-realism on the other side of the Alps for diplomatic purposes but without neglecting questions of an aesthetic nature, deserves attention. By relating certain aspects of the socio- historical context with the analysis of some critical texts, this article aims to reconstruct some trajectories of reception of neorealist cinema in the Italian-French press between 1945 and 1950.\u0000\u0000\u0000\u0000","PeriodicalId":248976,"journal":{"name":"Schermi. Storie e culture del cinema e dei media in Italia","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130012505","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-31DOI: 10.54103/2532-2486/18698
Adrienne Tuart
In April 1961, the Sydney screening of Federico Fellini’s latest film La dolce vita (1960) broke all box office records, and the associated scandals attracted the attention of Sydney cinemagoers and the migrant and local press. Over two hundred thousand Italians had migrated to Australia by this time, creating a local demand for Italian film. This article examines the central role that film plays within the social and cultural lives of diasporic audiences and their perceptions of change to show the importance of cinema, not only in cultivating and maintaining cultural and national identity, but in establishing a sense of italianità in 1960s Sydney.
{"title":"«PUTTING ITALY BACK ON THE MAP» DIASPORIC CINEMA AUDIENCES IN POSTWAR SYDNEY","authors":"Adrienne Tuart","doi":"10.54103/2532-2486/18698","DOIUrl":"https://doi.org/10.54103/2532-2486/18698","url":null,"abstract":"In April 1961, the Sydney screening of Federico Fellini’s latest film La dolce vita (1960) broke all box office records, and the associated scandals attracted the attention of Sydney cinemagoers and the migrant and local press. Over two hundred thousand Italians had migrated to Australia by this time, creating a local demand for Italian film. This article examines the central role that film plays within the social and cultural lives of diasporic audiences and their perceptions of change to show the importance of cinema, not only in cultivating and maintaining cultural and national identity, but in establishing a sense of italianità in 1960s Sydney.","PeriodicalId":248976,"journal":{"name":"Schermi. Storie e culture del cinema e dei media in Italia","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127428438","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-22DOI: 10.54103/2532-2486/16157
A. Desole
The article focuses on the representation of striptease in Italy in the late 50s. While the unveiling of the female body became more and more pervasive - in posters, in magazines, in theaters, in cinematography - Italian moralists sought strategies to contain the phenomenon. At the same time, many courts issued acquittal sentences which, in fact, liberalized striptease. At the center of the dispute was not female nudity (which had been showed since at least a decade) but rather the rules of behavior of women, disputed between the will to control and the desire to look. In both cases, considered as an object of the male will.
{"title":"Da vedersi «anche a costo di grave sacrificio». I cattolici e lo spogliarello nell'Italia degli anni Cinquanta","authors":"A. Desole","doi":"10.54103/2532-2486/16157","DOIUrl":"https://doi.org/10.54103/2532-2486/16157","url":null,"abstract":"The article focuses on the representation of striptease in Italy in the late 50s. While the unveiling of the female body became more and more pervasive - in posters, in magazines, in theaters, in cinematography - Italian moralists sought strategies to contain the phenomenon. At the same time, many courts issued acquittal sentences which, in fact, liberalized striptease. At the center of the dispute was not female nudity (which had been showed since at least a decade) but rather the rules of behavior of women, disputed between the will to control and the desire to look. In both cases, considered as an object of the male will.","PeriodicalId":248976,"journal":{"name":"Schermi. Storie e culture del cinema e dei media in Italia","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130831180","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-22DOI: 10.54103/2532-2486/17461
Rinaldo Vignati
The philosopher Norberto Bobbio was an important exponent of Italian liberalism and exerted considerable influence on Italian political thought of the second half of the twentieth century. The article examines the few texts by Bobbio relating to cinema. These are three essays published between 1961 and 1962 concerning censorship, freedom of art and eroticism. In these essays Bobbio expresses an opinion contrary to censorship but he critically judges the spread of eroticism in cinema and literature. He therefore calls for an evolution of customs capable of setting limits on erotic excesses. The underestimation of rules – also noted by other commentators in references to other areas of his thought – is a weakness in Bobbio’s reflection of censorship
{"title":"Norberto Bobbio: libertà dell’arte, censura ed erotismo","authors":"Rinaldo Vignati","doi":"10.54103/2532-2486/17461","DOIUrl":"https://doi.org/10.54103/2532-2486/17461","url":null,"abstract":"The philosopher Norberto Bobbio was an important exponent of Italian liberalism and exerted considerable influence on Italian political thought of the second half of the twentieth century. The article examines the few texts by Bobbio relating to cinema. These are three essays published between 1961 and 1962 concerning censorship, freedom of art and eroticism. In these essays Bobbio expresses an opinion contrary to censorship but he critically judges the spread of eroticism in cinema and literature. He therefore calls for an evolution of customs capable of setting limits on erotic excesses. The underestimation of rules – also noted by other commentators in references to other areas of his thought – is a weakness in Bobbio’s reflection of censorship ","PeriodicalId":248976,"journal":{"name":"Schermi. Storie e culture del cinema e dei media in Italia","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130214036","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-22DOI: 10.54103/2532-2486/16384
Laura Busetta
This paper analyzes the debate on sexual education emerged in the Italian press following the release of the film “Domani è troppo tardi” (Léonide Moguy, 1950). In Post-War Italy, the theme of sexual knowledge occupies the public discourse, with an emphasis on the control of female sexuality and the affirmation of virginity. Even the iconographic and textual representations of the main character, the sixteen-year-old Anna Maria Pierangeli, trace the stereotypes of virtue and female sacrifice, in line with a traditional morality and the Catholic conception of femininity. The intense debate catalyzed by the film describes adolescence as a hybrid territory: an asphyxiating place characterized by precepts, opinions, clinical observations, and control schemes; but also a transitional stage stimulated by the new sexualization of the cultural industry.
本文分析了意大利媒体在电影《Domani è troppo tardi》(lsamonide Moguy, 1950)上映后出现的关于性教育的争论。在战后的意大利，性知识的主题占据了公共话语，强调对女性性行为的控制和对童贞的肯定。即使是对主人公——16岁的安娜·玛丽亚·皮耶兰杰里(Anna Maria Pierangeli)——的肖像和文字表现，也遵循了美德和女性牺牲的刻板印象，符合传统道德和天主教对女性气质的概念。这部电影引发的激烈辩论将青春期描述为一个混合领域:一个令人窒息的地方，以戒律、观点、临床观察和控制方案为特征;同时也是文化产业新性别化刺激下的过渡阶段。
{"title":"«Tutto parla in termini sessuali»: educazione sessuale, adolescenza e verginità in \"Domani è troppo tardi\" (1950)","authors":"Laura Busetta","doi":"10.54103/2532-2486/16384","DOIUrl":"https://doi.org/10.54103/2532-2486/16384","url":null,"abstract":"This paper analyzes the debate on sexual education emerged in the Italian press following the release of the film “Domani è troppo tardi” (Léonide Moguy, 1950). In Post-War Italy, the theme of sexual knowledge occupies the public discourse, with an emphasis on the control of female sexuality and the affirmation of virginity. Even the iconographic and textual representations of the main character, the sixteen-year-old Anna Maria Pierangeli, trace the stereotypes of virtue and female sacrifice, in line with a traditional morality and the Catholic conception of femininity. The intense debate catalyzed by the film describes adolescence as a hybrid territory: an asphyxiating place characterized by precepts, opinions, clinical observations, and control schemes; but also a transitional stage stimulated by the new sexualization of the cultural industry.","PeriodicalId":248976,"journal":{"name":"Schermi. Storie e culture del cinema e dei media in Italia","volume":"90 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134479710","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-22DOI: 10.54103/2532-2486/16338
C. Tassinari
In the present essay, I will investigate the role of censorship in Italian Mondo films made in the 1960s and 1970s, such as Africa addio (1966, Gualtiero Jacopetti, Franco Prosperi), Africa segreta (1969, Angelo Castiglioni, Alfredo Castiglioni, Guido Guerrasio), Africa ama (1971, Angelo Castiglioni, Alfredo Castiglioni, Guido Guerrasio). In particular, I will focus my analysis on the works made by Angelo and Alfredo Castiglioni with Guido Guerrasio. In addition to their relationship with censorship boards, their film – despite some similarities with Mondo genre – demonstrates the attempt to elaborate a different projectin the subgenre dedicated to the African continent.
{"title":"La censura cinematografica nel cinema documentario. I \"mondo movie\" e il filone africano, alcuni casi di studio","authors":"C. Tassinari","doi":"10.54103/2532-2486/16338","DOIUrl":"https://doi.org/10.54103/2532-2486/16338","url":null,"abstract":"In the present essay, I will investigate the role of censorship in Italian Mondo films made in the 1960s and 1970s, such as Africa addio (1966, Gualtiero Jacopetti, Franco Prosperi), Africa segreta (1969, Angelo Castiglioni, Alfredo Castiglioni, Guido Guerrasio), Africa ama (1971, Angelo Castiglioni, Alfredo Castiglioni, Guido Guerrasio). In particular, I will focus my analysis on the works made by Angelo and Alfredo Castiglioni with Guido Guerrasio. In addition to their relationship with censorship boards, their film – despite some similarities with Mondo genre – demonstrates the attempt to elaborate a different projectin the subgenre dedicated to the African continent.","PeriodicalId":248976,"journal":{"name":"Schermi. Storie e culture del cinema e dei media in Italia","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127202064","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-22DOI: 10.54103/2532-2486/16158
D. Pavesi
In 1965 Franca Viola, an unknown teenager from the small Sicilian village of Alcamo, declined to marry the man who had kidnapped and raped her. By ignoring a law that still cleared rapists if they accepted to marry their victims, Viola’s impressive behaviour made a mediatic and judicial fuss that spread all over Italy. The unease raised by the old tradition of the “shotgun wedding” was testified not only by the newspapers reports from that time but also by the post-war cinematic production. Between the 1950s and the 1960s the topic is widely explored in the film industry, both in melodramatic productions and in comedies and even in bitterly farcical movies. By analysing the mediatic output of the Viola case and the legal debate it issued, this contribution will focus on the representations of the “shotgun wedding” in the films produced before and after the shocking case of the young Sicilian woman.
{"title":"Lo scandaloso rifiuto della sposa. L'ombra del matrimonio riparatore nel cinema italiano prima e dopo il caso Franca Viola","authors":"D. Pavesi","doi":"10.54103/2532-2486/16158","DOIUrl":"https://doi.org/10.54103/2532-2486/16158","url":null,"abstract":"In 1965 Franca Viola, an unknown teenager from the small Sicilian village of Alcamo, declined to marry the man who had kidnapped and raped her. By ignoring a law that still cleared rapists if they accepted to marry their victims, Viola’s impressive behaviour made a mediatic and judicial fuss that spread all over Italy. The unease raised by the old tradition of the “shotgun wedding” was testified not only by the newspapers reports from that time but also by the post-war cinematic production. Between the 1950s and the 1960s the topic is widely explored in the film industry, both in melodramatic productions and in comedies and even in bitterly farcical movies. By analysing the mediatic output of the Viola case and the legal debate it issued, this contribution will focus on the representations of the “shotgun wedding” in the films produced before and after the shocking case of the young Sicilian woman.","PeriodicalId":248976,"journal":{"name":"Schermi. Storie e culture del cinema e dei media in Italia","volume":"108 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131457273","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-22DOI: 10.54103/2532-2486/17302
Giovanni Memola
In the 1970s, Italian cinema experienced a boom of images and narrative elements associated with acts of violence against women, which were often further combined with sex. Such a phenomenon characterized domestic film production to a very large extent, therefore beyond budget and marketing implications, as well as auteur ambitions. In this context, the mystery-thriller films of the so-called “giallo” established a peculiar relation with violence against women at large, as they encoded it in the narrative mechanisms and in the development of the genre itself by means of subject-related marketing strategies and audience expectations. Quickly brought to popularity in the wake of Dario Argento’s works, over the years the “giallo” has been widely investigated precisely on the grounds of its defining featuring of violence against women, with most outcomes interpreting its psychological and allegorical aspects against the background of Italy’s contemporaneous social history. The aim of this essay is to enrich the interpretation field on this subject, prompting a reflection on such images and imagery of violence in the light of what were the practices, beliefs and expectations about violence against women beyond fiction, in the everyday life of 1970s Italy.
{"title":"Visto, si stupri. Sesso e terrore nelle immagini di violenza sulle donne nel cinema italiano degli anni Settanta, tra finzione e realtà","authors":"Giovanni Memola","doi":"10.54103/2532-2486/17302","DOIUrl":"https://doi.org/10.54103/2532-2486/17302","url":null,"abstract":"\u0000\u0000\u0000\u0000In the 1970s, Italian cinema experienced a boom of images and narrative elements associated with acts of violence against women, which were often further combined with sex. Such a phenomenon characterized domestic film production to a very large extent, therefore beyond budget and marketing implications, as well as auteur ambitions. In this context, the mystery-thriller films of the so-called “giallo” established a peculiar relation with violence against women at large, as they encoded it in the narrative mechanisms and in the development of the genre itself by means of subject-related marketing strategies and audience expectations. Quickly brought to popularity in the wake of Dario Argento’s works, over the years the “giallo” has been widely investigated precisely on the grounds of its defining featuring of violence against women, with most outcomes interpreting its psychological and allegorical aspects against the background of Italy’s contemporaneous social history. The aim of this essay is to enrich the interpretation field on this subject, prompting a reflection on such images and imagery of violence in the light of what were the practices, beliefs and expectations about violence against women beyond fiction, in the everyday life of 1970s Italy.\u0000\u0000\u0000\u0000","PeriodicalId":248976,"journal":{"name":"Schermi. Storie e culture del cinema e dei media in Italia","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134233199","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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