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Contemporary Italian Women Writers and Traces of the Fantastic
Contemporary fantastic fiction, particularly that written by women, often challenges traditional literary practice. At the same time the predominantly male-authored canon of fantastic literature offers a problematic range of gender stereotypes for female authors to 're-write'.
Queering Italian Media
Queering Italian Media analyzes and offers queer readings of LGBTQIA+ representation in Italian media. The contributors apply various understandings of "queer" and "media" as they discuss the relationship between the political and social lives of queer populations in Italy and investigate their representations in film, news media, television, social media, and viewer-generated media sites. Queering Italian Media examines queer positionality, challenges notions of Italianness as it relates to and is reflected in media, and queers understandings of viewer engagement and participation in media consumption and production.
The Italian Gothic and Fantastic
Meanwhile, by assimilating the Other into our own modes of representation of reality and imagination, twentieth-century female writers of the fantastic show how alternative identities can be shaped and social constituencies can be challenged."--BOOK JACKET.
Mafia Movies
The mafia has always fascinated filmmakers and television producers. Al Capone, Salvatore Giuliano, Lucky Luciano, Ciro Di Marzio, Roberto Saviano, Don Vito and Michael Corleone, and Tony Soprano are some of the historical and fictional figures that contribute to the myth of the Italian and Italian-American mafias perpetuated onscreen. This collection looks at mafia movies and television over time and across cultures, from the early classics to the Godfather trilogy and contemporary Italian films and television series. The only comprehensive collection of its type, Mafia Movies treats over fifty films and TV shows created since 1906, while introducing Italian and Italian-American mafia histo...
Italian Cinema Audiences
We know a lot about the directors and stars of Italian cinema's heyday, from Roberto Rossellini to Sophia Loren. But what do we know about the Italian audiences that went to see their films? Based on the AHRC-funded project 'Italian Cinema Audiences 1945-60', Italian Cinema Audiences: Histories and Memories of Cinema-going in Post-war Italy draws upon the rich data collected by the project team (160 video interviews and 1000+ written questionnaires gathered from Italians aged 65 and over; archival material related to cinema distribution, exhibition and programming, box-office figures, and critical discussions of cinema from film journals and popular magazines of the period). For the first time, cinema's role in everyday Italian life, and its affective meaning when remembered by older people, are enriched with industrial analyses of the booming Italian film sector of the period, as well as contextual data from popular and specialized magazines.
Antonio Pietrangeli, The Director of Women
One of the founding fathers of neorealism in the postwar period in Italy, Antonio Pietrangeli went on to focus his lens upon the female subject. Eight of his ten full-length films feature female protagonists. This study seeks to better understand both his achievements and his failings as a feminist auteur as well as analyse his films by applying new critical and theoretical approaches. Pietrangeli’s representations of women struggling with questions of identity was a revolutionary act in the 1950s and 1960s. The book makes a case why we should recuperate these films today since the standards for representing women in film continue to fall behind the reality of women’s lives off-screen.
Celluloid Comrades
"Without question, Song Hwee Lim has presented us with an exemplar of quality scholarship in the study of contemporary Chinese cinemas. By combining an impressive command of Chinese and Western literary as well as film source materials with a sophisticated mode of analysis and an unassuming argumentative style, he has authored an exhilarating book—one that not only treats cinematic representations of male homosexuality with great sensitivity but also demonstrates what it means to read with critical intelligence and vision." —Rey Chow, Andrew W. Mellon Professor of the Humanities, Brown University "Celluloid Comrades is a timely demonstration of the importance of queer studies in the fiel...
Unfinished Business
Unfinished Business is the first book to examine Italian mafia cinema of the past decade. It provides insightful analyses of popular films that sensationalize violence, scapegoat women, or repress the homosexuality of male protagonists. Dana Renga examines these works through the lens of gender and trauma theory to show how the films engage with the process of mourning and healing mafia-related trauma in Italy. Unfinished Business argues that trauma that has yet to be worked through on the national level is displaced onto the characters in the films under consideration. In a mafia context, female characters are sacrificed and non-normative sexual identities are suppressed in order to solidify traditional modes of viewer identification and to assure narrative closure, all so that the image of the nation is left unblemished.
The Phoenix Picturehouse: 100 Years of Oxford Cinema Memories
The Phoenix is one of only a handful of British cinemas to have remained active for the past 100 years. This is the story of Oxford’s oldest continuously operating cinema, as told by its staff and customers. Featuring first-hand reminiscences dating back to the days of silent movies, and illustrated with a fabulous collection of over 100 images, many of which have never appeared in print until now, 'The Phoenix Picturehouse' presents a wide-ranging account of a popular local institution whose changing fortunes exemplify a century of British cinema and cinemagoing history.
In the Shadow of The Birth of a Nation
This collection brings together many of the world’s leading scholars on race and film to re-consider the legacy and impact of D.W. Griffith’s deeply racist 1915 epic The Birth of a Nation. While this film is often cited, there is a considerable dearth of substantial research on its initial impact and global reach. These essays fill important gaps in the history of the film, including essential work on its sources, international reception, and African American responses. This book is a key text in the history of the most infamous and controversial film ever made and offers crucial new insights to scholars and students working in film history, African American history and the history of race relations.
