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Performing History
The fifteen essays of Performing History glimpse the diverse ways music historians “do” history, and the diverse ways in which music histories matter. This book’s chapters are structured into six key areas: historically informed performance; ethnomusicological perspectives; particular musical works that “tell,” “enact,” or “perform” war histories; operatic works that works that “tell,” “enact,” or “perform” power or enlightenment; musical works that deploy the body and a broad range of senses to convey histories; and histories involving popular music and performance. Diverse lines of evidence and manifold methodologies are represented here, ranging from traditional historical archival research to interviewing, performing, and composing. The modes of analyzing music and its associated texts represented here are as various as the kinds of evidence explored, including, for example, reading historical accounts against other contextual backdrops, and reading “between the lines” to access other voices than those provided by mainstream interpretation or traditional musicology.
Death by Laughter
Can you really die from laughing too hard? Between 1870 and 1920, hundreds of women suffered such a fate—or so a slew of sensationalist obituaries would have us believe. How could laughter be fatal, and what do these reports of women’s risible deaths tell us about the politics of female joy? Maggie Hennefeld reveals the forgotten histories of “hysterical laughter,” exploring how women’s amusement has been theorized and demonized, suppressed and exploited. In nineteenth-century medicine and culture, hysteria was an ailment that afflicted unruly women on the cusp of emotional or nervous breakdown. Cinema, Hennefeld argues, made it possible for women to laugh outrageously as never bef...
The Divo and the Duce
At publication date, a free ebook version of this title will be available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more. In the post–World War I American climate of isolationism, nativism, democratic expansion of civic rights, and consumerism, Italian-born star Rodolfo Valentino and Italy’s dictator Benito Mussolini became surprising paragons of authoritarian male power and mass appeal. Drawing on extensive archival research in the United States and Italy, Giorgio Bertellini’s work shows how their popularity, both political and erotic, largely depended on the efforts of public opinion managers, including publicists, journalists, and even ambassadors. Beyond the democratic celebrations of the Jazz Age, the promotion of their charismatic masculinity through spectacle and press coverage inaugurated the now-familiar convergence of popular celebrity and political authority. This is the first volume in the new Cinema Cultures in Contact series, coedited by Giorgio Bertellini, Richard Abel, and Matthew Solomon.
Cinematic Psychotherapy
This book investigates the therapeutic potential and efficacy of audiovisual languages, deepening the integration of film studies into neuropsychiatry and strategic psychotherapy. Within a theoretical framework including documentary studies, self-representational and amateur theories, and strategic psychotherapy, the book describes the key notions and methodologies for using audiovisual language in clinical therapy practice and autism spectrum disorder (ASD) interventions. The book, a review and update of the Italian Cinema terapeutico: Linguaggi audiovisivi e percorsi clinici, showcases the healing potential of creative participatory processes and self-representations that occur thanks to t...
Vital Subjects
Since World War II, Italy has struggled to recast both its colonial past and its alliance with Nazi Germany. For many years, pervading much intellectual and public discourse was the contention that, prior to the great influx of racialized migrants in the mid-1980s, and with the exception of the Fascist period, there simply was no race (racialized others, racist intolerance, etc.) in Italy. Vital Subjects examines cultural production - literature, sociology and public health discourse, and early film - from the years between Unification and the end of the First World War (ca. 1860 and 1920) in order to explore how race and colonialism were integral to modern Italian national culture, rather t...
Proibito!
From its birth in 1913 to its abolition in 2021, film censorship marked the history of Italian cinema, and its evolution mirrored the social, political, and cultural travail of the country. During the Fascist regime and in the postwar period, censorship was a powerful political tool in the hands of the ruling party; many films were banned or severely cut. By the end of the 1960s, censors had to cope with the changing morals and the widespread diffusion of sexuality in popular culture, which led to the boom of hardcore pornography. With the crisis of the national industry and the growing influence of television, censorship gradually changed its focus and targets. The book analyzes Italian film censorship from its early days to the present, discussing the most controversial cases and protagonists. These include such notorious works as Last Tango in Paris and Salo, or the 120 Days of Sodom, and groundbreaking filmmakers such as Luchino Visconti, Federico Fellini and Pier Paolo Pasolini, who pushed the limits of what was acceptable on screen, causing scandal and public debate.
The Anthem Handbook of Screen Theory
The Anthem Handbook of Screen Theory offers a unique and progressive survey of screen theory and how it can be applied to a range of moving-image texts and sociocultural contexts. Focusing on the “handbook” angle, the book includes only original essays from established authors in the field and new scholars on the cutting edge of helping screen theory evolve for the twenty-first-century vistas of new media, social shifts and geopolitical change. This method guarantees a strong foundation and clarity for the canon of film theory, while also situating it as part of a larger genealogy of art theories and critical thought, and reveals the relevance and utility of film theories and concepts to a wide array of expressive practices and specified arguments. The Anthem Handbook of Screen Theory is at once inclusive, applicable and a chance for writers to innovate and really play with where they think the field is, can and should be heading.
America in Italian Culture
When Italy unified in 1861, America was emerging as a world power, and advances in communication allowed Italians a view of American life to which they could aspire. America in Italian Culture traces this huge cultural shift, looking at how US fiction, comics, music, and film came to dominate Italian culture, even as the countries went to war.
Luchino Visconti and the Alchemy of Adaptation
Since the beginning, much of Italian cinema has been sustained by transforming literature into moving images. This tradition of literary adaptation continues today, challenging artistic form and practice by pressuring the boundaries that traditionally separate film from its sister arts. In the twentieth century, director Luchino Visconti is a keystone figure in Italy's evolving art of adaptation. From the tumultuous years of Fascism and postwar Neorealism, through the blockbuster decade of the 1960s, into the arthouse masterpieces of the 1970s, Visconti's adaptations marked a distinct pathway of the Italian cinematic imagination. Luchino Visconti and the Alchemy of Adaptation examines these films together with their literary antecedents. Moving past strict book-to-film comparisons, it ponders how literary texts encounter and interact with a history of cultural and cinematic forms, genres, and traditions. Matching the major critical concerns of the postwar period (realism, political filmmaking, cinematic modernism) with more recent notions of adaptation and intermediality, this book reviews how one of Italy's greatest directors mined literary ore for cinematic inspiration.
The Photoromance
A fascinating feminist reading of an often scorned medium: the storytelling, cross-platform success, and female fandom of the photoromance. Born in Italy and successfully exported to the rest of the world, photoromances had a readership of millions in the postwar years. By the early 1960s, more than ten million Italians read a photoromance each week. Despite its popularity, the photoromance—a form of graphic storytelling that uses photographs instead of drawings—was widely scorned as a medium, and its largely female audience derided as naive, pathetic, and uneducated. In this provocative book, Paola Bonifazio offers another perspective, making a case for the relevance of the photoromance...
