Pub Date : 2022-05-04DOI: 10.1080/02614340.2022.2156247
Danielle E. Hipkins, Elena Past, M. Seger
As we send this issue off to press we note that the circumstances which made the previous Film Issue, along with publishing at large and of course life in general, so very particular, have not entirely disappeared. The COVID pandemic is still with us and certain parts of our social and work lives still unfold via virtual formats, while other experiences have brought us back face to face. As we gathered again this past summer for conferences, symposia and the collective viewing of outdoor cinema, we wondered which habits formed during these pandemic years might remain and, as scholars of media, how they may have permanently transformed production, viewing, and distribution practices. The idea of transformative practice – academic, social, artistic – is a current that runs through many of the pieces in this issue. The opening dossier, by Simone Brioni, Caterina Romeo, Rachel Johnson, and Linde Luijnenburg, builds in exciting ways on last year’s Film Issue focus topic, collaboration. The four articles describe, frame, and contextualise the making of a translingual, transcultural documentary film titled Maka. The film, a hybrid of academic scholarship and creative filmmaking, is partially a reflection on Italian Cameroonian writer and scholar Geneviéve Makaping’s life, and partially a theoretical reflection inspired by her book Traiettorie di sguardi: E se gli altri foste voi? (2001). It was conceived by Brioni in conversation with Makaping, and then created with a collaborative team that included director Elia Moutamid and producers Graziano Chiscuzzu and Ermanno Guida. The four articles published here, which are described in greater detail in the abstract that opens the section, include an analysis of Traiettorie di sguardi (Romeo), an account of the theoretical and productive origins of the documentary (Brioni), a look at the philosophies that guided its production (Johnson), and a piece situating the work of director Moutamid (Luijnenburg). The dossier itself, whose creation saw the four authors in dialogue, becomes another piece of the collaborative puzzle that seeks to find structures and voices for an anti-racist, decolonial Italian studies. Like other recent work published in The Italianist Film Issue on collaborative scholarship and editorial work, videographic criticism, and environmental criticism, this section suggests the urgency – but also the creativity and good faith – with which scholars are seeking new audiences, new formats, and new analytical tools adequate to address critically important issues in contemporary Italy. The issue also features a rich set of open theme articles. Wide-ranging in topic, they can be linked by intersecting explorations of corporality, gender, (trans)national cultures and boundaries. Lora Jury examines the depiction of women as both economic and cultural capital in films of the economic boom period. Focusing on frequent visual citation of the Esso oil company logo in films such as La Romana (Luigi Zampa,
当我们将这一期付印时，我们注意到，使上一期电影，以及整个出版业，当然还有整个生活如此特别的情况，并没有完全消失。新冠肺炎疫情仍在我们身边，我们的社交和工作生活的某些部分仍通过虚拟形式展开，而其他经历让我们重新面对面。今年夏天，当我们再次聚集在一起参加会议、研讨会和户外电影院的集体观看时，我们想知道在疫情期间形成的哪些习惯可能会保留下来，作为媒体学者，它们可能如何永久地改变了制作、观看和发行实践。变革实践的理念——学术、社会、艺术——是贯穿本期许多文章的潮流。开幕档案由西蒙·布里奥尼、卡特琳娜·罗密欧、雷切尔·约翰逊和林德·路易滕堡撰写，以令人兴奋的方式建立在去年电影问题的焦点话题——合作之上。这四篇文章描述了一部名为《马卡》的跨语言、跨文化纪录片的制作过程。这部电影融合了学术学术和创意电影制作，部分反映了意大利喀麦隆作家和学者Geneviéve Makaping的生活，部分是受她的书《Traiettorie di sguardi:E se gli altri foste voi？（2001）。它是布里奥尼在与马卡平的对话中构思的，然后与包括导演伊利亚·穆塔姆、制片人格拉齐亚诺·奇斯库祖和埃尔曼诺·吉达在内的合作团队共同创作。本文发表的四篇文章在本节开头的摘要中进行了更详细的描述，其中包括对《罗密欧》的分析、对纪录片理论和生产起源的描述（布里奥尼）、对指导其制作的哲学的审视（约翰逊），以及一篇关于导演穆塔姆作品的文章。这份档案本身见证了四位作者的对话，它成为了另一块合作拼图，旨在为反种族主义、非殖民化的意大利研究寻找结构和声音。与最近发表在《意大利电影问题》上的其他关于合作学术和编辑工作、视频批评和环境批评的作品一样，本节表明了学者们寻求新受众、新形式、，以及新的分析工具，这些工具足以解决当代意大利极其重要的问题。这期杂志还有一系列丰富的开放主题文章。它们的主题广泛，可以通过对主体性、性别、（跨性别）民族文化和边界的交叉探索来联系起来。Lora Jury研究了经济繁荣时期电影中对女性既是经济资本又是文化资本的描述。她关注《罗马纳》（Luigi Zampa，1954）等电影中埃索石油公司标志的频繁视觉引用，追溯了石油资本主义和卖淫的交叉点，认为20世纪50年代的意大利经济在一个总是性别化的社会等级制度中延续和繁荣。展望最近几年，Aine O'Healy和Caterina Romeo也考虑了性别身份的问题，他们在Elvira Dones 2007年的小说《Vergine giurata》和Laura 2015年改编的电影中研究了变性人的表现和跨国流动性
{"title":"Editorial","authors":"Danielle E. Hipkins, Elena Past, M. Seger","doi":"10.1080/02614340.2022.2156247","DOIUrl":"https://doi.org/10.1080/02614340.2022.2156247","url":null,"abstract":"As we send this issue off to press we note that the circumstances which made the previous Film Issue, along with publishing at large and of course life in general, so very particular, have not entirely disappeared. The COVID pandemic is still with us and certain parts of our social and work lives still unfold via virtual formats, while other experiences have brought us back face to face. As we gathered again this past summer for conferences, symposia and the collective viewing of outdoor cinema, we wondered which habits formed during these pandemic years might remain and, as scholars of media, how they may have permanently transformed production, viewing, and distribution practices. The idea of transformative practice – academic, social, artistic – is a current that runs through many of the pieces in this issue. The opening dossier, by Simone Brioni, Caterina Romeo, Rachel Johnson, and Linde Luijnenburg, builds in exciting ways on last year’s Film Issue focus topic, collaboration. The four articles describe, frame, and contextualise the making of a translingual, transcultural documentary film titled Maka. The film, a hybrid of academic scholarship and creative filmmaking, is partially a reflection on Italian Cameroonian writer and scholar Geneviéve Makaping’s life, and partially a theoretical reflection inspired by her book Traiettorie di sguardi: E se gli altri foste voi? (2001). It was conceived by Brioni in conversation with Makaping, and then created with a collaborative team that included director Elia Moutamid and producers Graziano Chiscuzzu and Ermanno Guida. The four articles published here, which are described in greater detail in the abstract that opens the section, include an analysis of Traiettorie di sguardi (Romeo), an account of the theoretical and productive origins of the documentary (Brioni), a look at the philosophies that guided its production (Johnson), and a piece situating the work of director Moutamid (Luijnenburg). The dossier itself, whose creation saw the four authors in dialogue, becomes another piece of the collaborative puzzle that seeks to find structures and voices for an anti-racist, decolonial Italian studies. Like other recent work published in The Italianist Film Issue on collaborative scholarship and editorial work, videographic criticism, and environmental criticism, this section suggests the urgency – but also the creativity and good faith – with which scholars are seeking new audiences, new formats, and new analytical tools adequate to address critically important issues in contemporary Italy. The issue also features a rich set of open theme articles. Wide-ranging in topic, they can be linked by intersecting explorations of corporality, gender, (trans)national cultures and boundaries. Lora Jury examines the depiction of women as both economic and cultural capital in films of the economic boom period. Focusing on frequent visual citation of the Esso oil company logo in films such as La Romana (Luigi Zampa, ","PeriodicalId":42720,"journal":{"name":"Italianist","volume":"42 1","pages":"185 - 186"},"PeriodicalIF":0.0,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49261140","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-04DOI: 10.1080/02614340.2022.2129526
Linde Luijnenburg
ABSTRACT In this article, the author proposes three layers of film analysis and spectatorship in order to discuss film director Elia Moutamid's oeuvre. The first layer refers to the filmic texts (plots and aesthetics), the second situates the films in their socio-historical and cinematographic contexts, and the third layer relates the films to Plato's simile of the cave, establishing their philosophical quality. The author argues that the interrelation between these various layers attests to the refinement of Moutamid's cinematic production.
{"title":"The Three Layers of Elia Moutamid’s Cinema","authors":"Linde Luijnenburg","doi":"10.1080/02614340.2022.2129526","DOIUrl":"https://doi.org/10.1080/02614340.2022.2129526","url":null,"abstract":"ABSTRACT In this article, the author proposes three layers of film analysis and spectatorship in order to discuss film director Elia Moutamid's oeuvre. The first layer refers to the filmic texts (plots and aesthetics), the second situates the films in their socio-historical and cinematographic contexts, and the third layer relates the films to Plato's simile of the cave, establishing their philosophical quality. The author argues that the interrelation between these various layers attests to the refinement of Moutamid's cinematic production.","PeriodicalId":42720,"journal":{"name":"Italianist","volume":"42 1","pages":"220 - 228"},"PeriodicalIF":0.0,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42106632","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-04DOI: 10.1080/02614340.2022.2129489
Simone Brioni
ABSTRACT This article draws on Mieke Bal's reflections about the use of the documentary film as a way to explore migration cultures from a scholarly perspective, and it chronicles the production of Maka (2022), a film about Geneviève Makaping's life and thoughts on race and belonging. It focuses on the collaboration and dialogue with Makaping and director Elia Moutamid, among other members of the creative team, and it argues that collaboration and dialogue can have an impact beyond the academic context. Indeed, Maka is a hybrid work that blends theory and biographical storytelling, and it is therefore accessible to a larger audience. Documentaries involve self-reflective practices which might be useful to interrogate our position throughout the research process and to reflect upon the ethical questions which are involved in scholarly work about migration cultures.
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Pub Date : 2022-05-04DOI: 10.1080/02614340.2022.2090063
Rachel Johnson
ABSTRACT Academic filmmaking has become a rich area of practice and inquiry, driving debates about academic rigour, affect, social impact, and knowledge production. While scholars have increasingly sought to expand their practice beyond strict, ‘academic' modes of filmmaking, little attention has been paid to the ways diverse approaches to film production may also offer opportunities for creative practice that extends beyond the academy. This article explores the production model underpinning Maka, a documentary biopic of Geneviéve Makaping and product of intensive collaboration between academic and industry-based filmmakers. Drawing on interviews with the film's producers, Graziano Chiscuzzu and Ermanno Guida, I explore Maka's status as a hybrid film, a dialogic project in which multiple positions and voices intersect. I trace the filmmakers’ negotiation of funding and prestige – from university grants to legitimation at film festivals – as well as their use of techniques such as retroscripting to cultivate a dialogic filmmaking process. I also discuss the ethos of social commitment that appears to unite both academic and documentary filmmaking, and explore avenues for expanding and measuring social impact through film distribution. I conclude that Maka offers an important case study of academic-industry hybridization, permitting further interrogation of the boundaries between the two spheres.
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Pub Date : 2022-05-04DOI: 10.1080/02614340.2021.2010020
S. Angeli
ABSTRACT This article examines the portrayal of suicide in two films by Marco Bellocchio, Il regista di matrimoni (2006) and Sorelle Mai (2010). I first suggest that voluntary death represents in Bellocchio's work an ‘exit strategy' that allows his characters to overcome an existential and ideological deadlock. I then turn to the implications of such a radical gesture, situating it within the millennia-old debates surrounding the topic of suicide. Finally, I examine the two case studies, teasing out their cultural, social, and political significance. In Il regista di matrimoni, the character's suicide is targeted at disrupting the clientelist system governing Italian cultural life. In Sorelle Mai, the suicidal character opts instead for a spectacular self-sacrifice, for an ending that is also a return to his origins. Overall, in Bellocchio’s films, suicide comes to be a locus of tension and resolution, a marriage of opposite impulses marked by ambiguity and undecidability.
摘要本文考察了马尔科·贝洛基奥（Marco Bellocchio）、《婚姻》（Il regista di marriari）（2006）和《麦》（Sorelle Mai）（2010）两部电影中对自杀的刻画。我首先认为，自愿死亡在贝洛基奥的作品中代表了一种“退出策略”，使他的角色能够克服生存和意识形态的僵局。然后，我转向这种激进姿态的含义，将其置于数千年来围绕自杀话题的辩论中。最后，我考察了这两个案例研究，梳理出它们的文化、社会和政治意义。在《婚姻之王》中，这个角色的自杀旨在破坏意大利文化生活的庇护制度。在《Sorelle Mai》中，这个自杀的角色选择了一个壮观的自我牺牲，这个结局也是对他的起源的回归。总的来说，在贝洛基奥的电影中，自杀成为了紧张和决心的源泉，是一种以模糊和不确定为标志的相反冲动的结合。
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Pub Date : 2022-05-04DOI: 10.1080/02614340.2022.2075102
Daniel Paul
ABSTRACT Recent studies on female sexuality evidence the ways in which the term ‘slut’ is gendered and used primarily to police sexually active women, by men and, surprisingly, women. The commedia all’italiana Sedotta e abbandonata (Pietro Germi, 1964) and the US-based Netflix series 13 Reasons Why (Brian Yorkey, 2017–2020) depict slut shaming and show how the consequent lack of solidarity between women helps protect unbridled male sexuality. Italy’s second Netflix original series Baby (Andrea De Sica and others, 2017–2020), however, resists this tendency and ultimately holds men accountable for their exploitation of women, specifically through the reinforcement of what I term the gynosocial bond, or the bond between women. In this article, then, I argue that this emphasis on female solidarity helps normalise – rather than penalise – active female sexuality and that by so doing, Baby represents a potential turning point towards more positive depictions of female sexualities.
最近对女性性行为的研究表明，“荡妇”一词是性别化的，主要用于监管性活跃的女性，男性和女性(令人惊讶的是)都是如此。喜剧《所有的意大利人都是妓女》(Pietro Germi, 1964)和美国Netflix电视剧《十三个原因》(Brian Yorkey, 2017-2020)描绘了荡妇的耻辱，并展示了女性之间缺乏团结是如何帮助保护肆无忌惮的男性性行为的。然而，意大利Netflix的第二部原创剧集《宝贝》(Andrea De Sica等人，2017-2020)抵制了这种趋势，并最终让男性对他们剥削女性的行为负责，特别是通过强化我所说的“女性社会纽带”，或女性之间的纽带。在这篇文章中，我认为这种对女性团结的强调有助于使活跃的女性性行为正常化，而不是惩罚，通过这样做，《宝贝》代表了一个潜在的转折点，趋向于更积极地描述女性性行为。
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Pub Date : 2022-01-02DOI: 10.1080/02614340.2022.2093459
L. Marano
SOMMARIO Questo lavoro è il risultato di un laboratorio tenuto in una classe liceale di Pozzuoli in provincia di Napoli, con lo scopo di escutere quanto dei soggetti giovani che si auto-percepiscono come parlanti napoletano riuscissero a comprendere di un testo dialettale del Seicento – la novella ‘La gatta Cenerentola’ tratta da Lo cunto de li cunti di Giovan Battista Basile – e di capire quali parole fossero più note ai ragazzi e quali meno. Agli studenti è stato chiesto di classificare i vocaboli contenuti nella novella in base a categorie legate a uso e conoscenza. È emerso che la maggior parte dei lessemi è relativamente nota al campione, per quanto non sia sempre facile stabilire che significato venga attribuito alle parole che hanno presentato slittamento semantico nel corso del tempo. Articoli e pronomi sono risultati come gli elementi più noti, mentre necessitano alcune osservazioni i nomi e i verbi, a causa della maggiore polimorfia a cui sono sottoposti.
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Pub Date : 2022-01-02DOI: 10.1080/02614340.2022.2062948
Stefano Serafini
ABSTRACT This article investigates the dissemination of the criminal image in fin-de-siècle Italy within three different discursive areas – crime news, the popular novel, and criminological science – with a view to unveiling the complex, and often contradictory, role played by visual culture in the re-elaboration and popularisation of ideas, concepts and perceptions concerned with crime and its ambiguous nature. The image, as I intend to show, complicates and subverts traditional interpretations regarding the contribution made by crime literature and the popular press to the reconfiguration of the very idea of delinquency and to the identification of new instruments to understand it and control it. This article ultimately provides a much more complex and nuanced scenario than generally acknowledged by scholars that necessarily invites further analysis.
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Pub Date : 2022-01-02DOI: 10.1080/02614340.2022.2062935
Lisa Dolasinski
ABSTRACT This article contributes to broader debates about transcultural practices of social acceptance in contemporary Italy. Second-generation musicians Mahmood and Ghali utilise elements of global hip-hop to construct ‘in between’ identities that are representative of Italy’s increasingly diverse youth generation. Both young men hail from immigrant parents, absentee fathers, and urban poverty. Rather than attempt to minimise these purportedly unsavoury qualities, Mahmood and Ghali accentuate their multiethnic heritages in their music and artistic philosophies. By sharing their experiences of navigating ethnic heritage and Italian identity, these musicians not only invalidate xenophobic policies of belonging and national homogeneity, but also cultivate an image of authenticity that resonates with the diverse youth that mirror, and will ultimately shape, the future of Italy.
{"title":"‘In Between’ Ethnic Heritage and Italian Identity: The Global Hip-Hop of Mahmood and Ghali","authors":"Lisa Dolasinski","doi":"10.1080/02614340.2022.2062935","DOIUrl":"https://doi.org/10.1080/02614340.2022.2062935","url":null,"abstract":"ABSTRACT This article contributes to broader debates about transcultural practices of social acceptance in contemporary Italy. Second-generation musicians Mahmood and Ghali utilise elements of global hip-hop to construct ‘in between’ identities that are representative of Italy’s increasingly diverse youth generation. Both young men hail from immigrant parents, absentee fathers, and urban poverty. Rather than attempt to minimise these purportedly unsavoury qualities, Mahmood and Ghali accentuate their multiethnic heritages in their music and artistic philosophies. By sharing their experiences of navigating ethnic heritage and Italian identity, these musicians not only invalidate xenophobic policies of belonging and national homogeneity, but also cultivate an image of authenticity that resonates with the diverse youth that mirror, and will ultimately shape, the future of Italy.","PeriodicalId":42720,"journal":{"name":"Italianist","volume":"42 1","pages":"119 - 138"},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43234363","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-02DOI: 10.1080/02614340.2022.2062942
Akash Kumar, Francesco Samarini
ABSTRACT In this article, we draw attention to the expansive and crucial presence of Dante in two particular stories of Primo Levi’s Vizio di forma, the linked tales ‘Lavoro Creativo’ and ‘Nel Parco’. These stories imagine an idyllic afterlife realm for famous literary characters, and so are of course ripe for reading through the lens of Dante’s Limbo. But we argue that there is still more to be found by expanding the scope of our inquiry to more of the Commedia, particularly in considering the dynamic between souls in Dante’s Purgatory and Levi’s appreciation of the scientific aspects of Dante’s writings. Such a move allows for a fuller appreciation of the relationship between Primo Levi and Dante, showing how the Turinese writer creates a unique space for himself through his acts of rewriting, appropriating, and adapting Dante.
{"title":"Levi’s Limbo: Dante in Primo Levi’s Vizio di forma","authors":"Akash Kumar, Francesco Samarini","doi":"10.1080/02614340.2022.2062942","DOIUrl":"https://doi.org/10.1080/02614340.2022.2062942","url":null,"abstract":"ABSTRACT In this article, we draw attention to the expansive and crucial presence of Dante in two particular stories of Primo Levi’s Vizio di forma, the linked tales ‘Lavoro Creativo’ and ‘Nel Parco’. These stories imagine an idyllic afterlife realm for famous literary characters, and so are of course ripe for reading through the lens of Dante’s Limbo. But we argue that there is still more to be found by expanding the scope of our inquiry to more of the Commedia, particularly in considering the dynamic between souls in Dante’s Purgatory and Levi’s appreciation of the scientific aspects of Dante’s writings. Such a move allows for a fuller appreciation of the relationship between Primo Levi and Dante, showing how the Turinese writer creates a unique space for himself through his acts of rewriting, appropriating, and adapting Dante.","PeriodicalId":42720,"journal":{"name":"Italianist","volume":"42 1","pages":"84 - 103"},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41873522","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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