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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.
Rethinking Genre in Contemporary Global Cinema
Rethinking Genre in Contemporary Global Cinema offers a unique, wide-ranging exploration of the intersection between traditional modes of film production and new, transitional/transnational approaches to film genre and related discourses in a contemporary, global context. This volume’s content—the films, genres, and movements explored, as well as methodologies used in their analysis—is diverse and, crucially, up-to-date with contemporary film-making practice and theory. Significantly, the collection extends existing scholarly discourse on film genre beyond its historical bias towards a predominant focus on Hollywood cinema, on the one hand, and a tendency to treat “other” national cinemas in isolation and/or as distinct systems of production, on the other. In view of the ever-increasing globalisation and transnational mediation of film texts and screen media and culture worldwide, the book recognises the need for film genre studies and film genre criticism to cast a broader, indeed global, scope. The collection thus rethinks genre cinema as a transitional, cross-cultural, and increasingly transnational, global paradigm of film-making in diverse contexts.
The Routledge Companion to New Cinema History
The Routledge Companion to New Cinema History presents the most recent approaches and methods in the study of the social experience of cinema, from its origins in vaudeville and traveling exhibitions to the multiplexes of today. Exploring its history from the perspective of the cinemagoer, the study of new cinema history examines the circulation and consumption of cinema, the political and legal structures that underpinned its activities, the place that it occupied in the lives of its audiences and the traces that it left in their memories. Using a broad range of methods from the statistical analyses of box office economics to ethnography, oral history, and memory studies, this approach has ...
Reality, Magic, and Other Lies
Exploration of fairy-tale movies that blur the line between reality and magic. Reality, Magic, and Other Lies: Fairy-Tale Film Truths explores connections and discontinuities between lies and truths in fairy-tale films to directly address the current politics of fairy tale and reality. Since the Enlightenment, notions of magic and wonder have been relegated to the realm of the fanciful, with science and reality understood as objective and true. But the skepticism associated with postmodern thought and critiques from diverse perspectives—including but not limited to anti-racist, decolonial, disability, and feminist theorizing—renders this binary distinction questionable. Further, the prec...
The Routledge Companion to European Cinema
Presenting new and diverse scholarship, this wide-ranging collection of 43 original chapters asks what European cinema tells us about Europe. The book engages with European cinema that attends to questions of European colonial, racialized and gendered power; seeks to decentre Europe itself (not merely its putative centres); and interrogate Europe’s various conceptualizations from a variety of viewpoints. It explores the broad, complex and heterogeneous community/ies produced in and by European films, taking in Kurdish, Hollywood and Singapore cinema as comfortably as the cinema of Poland, Spanish colonial films or the European gangster genre. Chapters cover numerous topics, including indiv...
Ireland and Cinema
The volume offers a broad range of academic approaches to contemporary and historical Irish filmmaking and representations of nationality, national identity, and theoretical questions around the construction of Ireland and Irishness on the screen.
Requiem for a nation
The primary objective of this collection is to examine the ways in which religion, culture and politics converge in configuring the contradictions of post-war Italy’s cultural history, starting from the assumption that conducting a critical reflection on Italian postwar visual culture requires investigating the inevitable impact of Catholic religion on everyday life in its social, political and cultural dimensions. The volume takes advantage of the privileged position of cinema to explore and critique religion’s influence on the Italian cultural landscape. This edited anthology thus seeks to probe how religion is experienced, practiced, criticized and represented from various methodological perspectives (historical, philological, aesthetic, psychoanalytical, popular studies, etc.) through four main sections: ‘Propaganda and Censorship’, ‘Framing Belief: Pasolini and Petri’, ‘Religion in Italian Popular Cinema’ and ‘Ancient Rituals, Modern Myths’.
Gender, Writing, Spectatorships
This original study makes a valuable contribution to Italian feminist/women’s history, spectatorship studies, and cultural history by examining women as protagonists, producers and consumers of literature, theatre, opera and film. Drawing on archival material – female correspondence, life-writings and journalism – as well as an impressive range of canonical texts, it brings together detailed engagement with female performance and with female spectators’ material responses to "women’s opera, theatre and film," placing these in the context of melodrama from the 1880s to the 1920s in Italy, France, the US, and elsewhere. It is unique in its interdisciplinary approach and in its consideration of female relationships based on admiration among performers and writers – the embodiment of a vibrant, mobile and successful Italian female culture industry during the first wave of feminism.
The Politics of Nordsploitation
The Politics of Nordsploitation takes a transnational approach to exploring Nordic 'exploitation' films in their industrial contexts, viewing them as not only political manifestations of domestic considerations but also to position Nordic film cultures in a global context. Incorporating a wide range of films, from international cult classics like They Call Her One Eye (1974), homegrown martial arts films like The Ninja Mission (1984) to contemporary crowd-sourced fan productions like Iron Sky (2012), this volume examines the remarkable diversity of genre-based, commercially and culturally exploitative film production throughout the Nordic countries – emphasized here through the term 'Nordsploitation'. This volume provides a historical exposition of largely ignored marginal films and film cultural patterns. It also outlines how influential these films have been in shaping the development of Nordic cinema. The effects are visible in the films of the new millennium as previously marginalized practices now enter the mainstream. With sharp insights and new research, The Politics of Nordsploitation redefines the concept of 'exploitation' and its role in small nation cinemas.
Filmspanism
Filmspanism explores the geopolitics of knowledge involved in academic approaches to Spanish cinema. This companion rethinks the role of disciplinarity, institutionality, and nationality in the study of film by taking into account a rather specific set of contentious issues, intellectual traditions, discursive servitudes, and invested scholarship. To that end, the book explores the topics of art cinema, popular culture, film genre, and transnationalism, always with Spanish cinema as its concrete object of study. An insightful contribution to the study of Spanish cinema, this discussion will be of interest to researchers and graduate students in Hispanic Studies and Film Studies.
