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A History of Italian Cinema
A History of Italian Cinema, 2nd edition is the much anticipated update from the author of the bestselling Italian Cinema - which has been published in four landmark editions and will celebrate its 35th anniversary in 2018. Building upon decades of research, Peter Bondanella and Federico Pacchioni reorganize the current History in order to keep the book fresh and responsive not only to the actual films being created in Italy in the twenty-first century but also to the rapidly changing priorities of Italian film studies and film scholars. The new edition brings the definitive history of the subject, from the birth of cinema to the present day, up to date with a revised filmography as well as more focused attention on the melodrama, the crime film, and the historical drama. The book is expanded to include a new generation of directors as well as to highlight themes such as gender issues, immigration, and media politics. Accessible, comprehensive, and heavily illustrated throughout, this is an essential purchase for any fan of Italian film.
Memories and Silences Haunted by Fascism
Fascist and colonial legacies have been determinant in shaping how Italian colonialism has been narrated in Italy till the late 1960s. This book deals with the complex problem of public memory and discursive amnesia. The detailed research that underpins this book makes it no longer possible to claim that after 1945 there was an absolute and traumatic silence concerning Italy's colonial occupation of North and East Africa. However, the abiding public use of this history confirms the existence of an extremely selective and codified memory of that past. The author shows that colonial discourse persisted in historiography, newspapers, newsreels and film. Popular culture appears intertwined with political and economic interests and the power inscribed in elite and scientific knowledge. While readdressing the often mistaken historical time line that ignores that actual Italian colonial ties did not end with the fall of Fascism, but in 1960 with Somalia becoming independent, this book suggests that a new post Fascist Italian identity was the crucial issue in reappraisals of a national colonial past.
Stars
From two distinguished academics, this book includes contributions from top scholars such as Richard Dyer, and brings together key writings and new perspectives on stars and stardom in cinema across the world.
Re-viewing Fascism
When Benito Mussolini proclaimed that "Cinema is the strongest weapon," he was telling only half the story. In reality, very few feature films during the Fascist period can be labeled as propaganda. Re-viewing Fascism considers the many films that failed as "weapons" in creating cultural consensus and instead came to reflect the complexities and contradictions of Fascist culture. The volume also examines the connection between cinema of the Fascist period and neorealism—ties that many scholars previously had denied in an attempt to view Fascism as an unfortunate deviation in Italian history. The postwar directors Luchino Visconti, Roberto Rossellini, and Vittorio de Sica all had important roots in the Fascist era, as did the Venice Film Festival. While government censorship loomed over Italian filmmaking, it did not prevent frank depictions of sexuality and representations of men and women that challenged official gender policies. Re-viewing Fascism brings together scholars from different cultural and disciplinary backgrounds as it offers an engaging and innovative look into Italian cinema, Fascist culture, and society.
Sex, the Self, and the Sacred
Drawing upon Italy's distinct socio-cultural history as well as feminist and psychoanalytic approaches to film, Colleen Ryan-Scheutz explores the ways in which Pasolini's representations of women reveal his concerns about the corruption of modern society.
The Films of Roberto Rossellini
A close analysis of the seven films that mark important turning points in Rossellini's evolution: The Man with a Cross (1943), Open City (1945), Paisan (1946), The Machine to Kill Bad People (1948-52), Voyage in Italy (1953), to General della Rovere(1959), and The Rise to Power of Louis XIV (1966).
The Reel Middle Ages
Those tales of old--King Arthur, Robin Hood, The Crusades, Marco Polo, Joan of Arc--have been told and retold, and the tradition of their telling has been gloriously upheld by filmmaking from its very inception. From the earliest of Georges Melies's films in 1897, to a 1996 animated Hunchback of Notre Dame, film has offered not just fantasy but exploration of these roles so vital to the modern psyche. St. Joan has undergone the transition from peasant girl to self-assured saint, and Camelot has transcended the soundstage to evoke the Kennedys in the White House. Here is the first comprehensive survey of more than 900 cinematic depictions of the European Middle Ages--date of production, country of origin, director, production company, cast, and a synopsis and commentary. A bibliography, index, and over 100 stills complete this remarkable work.
Masters of Two Arts
Carlo Testa demonstrates that while pairings of famed directors and writers are commonplace in modern Italian cinema, the study of the interrelation between Italian cinema and European literature has been almost completely neglected in film scholarship.
The School of Mathematics at Rome’s University Campus
The School of Mathematics is a masterpiece of the early 1930s by Gio Ponti, who is today regarded as a master of Italian Modernism. Although World War II bombings shattered the coloured stained-glass window that once adorned the balanced and harmonious white travertine façade, the building remains a striking and significant piece of architecture. Although it underwent a series of transformations over the years before its historical and artistic relevance was recognised, it can still be appreciated and admired for its magnificent expressivity. Its uniqueness derives from its complexity, such as is often found in Italian monuments of all ages: a rare synthesis of urban design, architecture, a...
