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In recent years, Italian cinema has experienced a quiet revolution: the proliferation of films by women. But their thought-provoking work has not yet received the attention it deserves. Reframing Italy fills this gap. The book introduces readers to films and documentaries by recognized women directors such as Cristina Comencini, Wilma Labate, Alina Marazzi, Antonietta De Lillo, Marina Spada, and Francesca Comencini, as well as to filmmakers whose work has so far been undeservedly ignored. Through a thematically based analysis supported by case studies, Luciano and Scarparo argue that Italian women filmmakers, while not overtly feminist, are producing work that increasingly foregrounds female...
The protagonist of the “Cardiology Case” of Modena tells her own story. At the time, 2013, of publication of this book in Italy, than two years since the beginning of the story, she was still waiting to be judged, and after being “trampled morally and professionally”, she decided to let know “her” truth publishing documents, e- mails, minutes, reports, newspaper articles, etc. concerning the “Case”.
Throughout his career, Robert Brentano attempted to understand the nature and 'style' of ecclesiastical institutions in Italy and the British Isles, the specific qualities of saints and the communities that formed around them, and the ways in which seemingly cryptic archival remains of medieval administrative activity, as well as chronicles and lives, could reveal vital details about change and continuity in local and regional religious life and even 'the color of men's souls'. These issues are explored in the essays assembled in Parts I (Bishops) and II (Saints). Part III (Historians) brings together articles that examine the writing of history by both medieval authors and modern historians, and includes Brentano's reflections on his own practice as an historian. The introduction by W. L. North offers a brief biography and introduction to reading Brentano's works, followed by a complete bibliography of his publications.
This study, composed by Richard Andrews after a fifteen-year acquaintance with the theatre of Monticchiello, first of all traces the political and social process by which Tuscan sharecropping came to an end. It then examines in detail the way in which that story has been remembered, analysed and even mythologized in the artistic consciousness of a