Films sold on their erotic content also represent a challenge for critical discourse.
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Michele Giordano finds earlier antecedents in two films by Blasetti: Europa di notte and Io amo, tu ami So the useful tracing of the erotic through 45 Le fortune del melodramma, ed. Indeed, the conclusions of such research would have applications in the study of more mainstream or critically-validated film texts: that is, they might allow us to account for and interrogate processes of communal appreciation and canon-formation that themselves have traditionally taken place within homosocial environments. In any case, Nocturno and Profondo Rosso and their ilk provide resources not just on erotic cinema but on Italian genre production more generally, sometimes in paral- lel to, but mostly anticipating scholarly production.
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Mention should also be made here of studies of genres of filmmaking that have been less commercially visible, such as the documentary discussed above , or that seem to have no robust tradition in Italy, such as the musical. While the whole is more comprehensive than profound, it succeeds in mapping a field of enquiry.
I mention the book because it is an example of the especially strong presence in the publishing on stars of what I have referred to as cult historicism, a celebratory mode of description which lacks both political and theoretical reflexivity. Two volumes on Anna Magnani by Matilde Hochkolfer partially bear this out. It is this legacy of critical disdain that must distinguish a study of these two from that of the critically as well as popularly vali- dated Magnani.
The ambiguous status of their subjects means that Bertolino and Ridola have taken on a complex task. The volume is, however, essentially descriptive, though packed with information and filmographies. As with all the Gremese volumes it is liberally illustrated, here with stills and backstage snapshots. Examples include works on Fantozzi, the middle-aged inetto bureaucrat incarnated by Paolo Villaggio, who also wrote the books upon which the series of films were based, and on Monnezza, the crude Roman cop played by the Cuban actor Tomas Milian who appears in a group of films made over a decade from the mids.
He provides an entry on each of the ten films, describes their relationship with the books, and analyses the development of the saga, including the progressive disappearance of its political content. There is also a section of inter- views, including one with Paolo Villaggio himself. The book has a slim bibliography and lacks a sufficient theoretical apparatus the author tends to quote his university lecturers but it is a valid point of departure for the study of a character who is part of the cultural chattel of every Italian. How- ever, publications like this one are where we must begin in the study of popular material: they communicate what the Italian spectator knows, help us to clarify the appeal of comedy personages in a given period, and offer material for the analysis of fan culture itself.
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The tireless Pallotta is also responsible for the volume on Fantozzi, Mostruosamente… Fantozzi Rome: Un mondo a parte, Such studies have tended to be made of higher status production, and could be said to fall within the much longer tradition of the questione della lingua. It is a fragmentary volume, part history part attempt to claim its object as a component of Italian cultural heritage. The idea of cinema as heritage is implicit also in the very many and scattered pub- lications describing the presence of a given region or city in Italian cinema or vice versa , sometimes in the form of guidebooks, sometimes as coffee-table volumes, and less often as serious works of analysis.
Sogno di un paesaggio tra cielo e acqua, ed. The first half of the book is concerned with setting up the terms of the study, ranging widely over aesthetic philosophy and film history, and defining a methodology of stylistic analysis distinct from either cultural studies or the neoformalist approach. The book has two parts: the first is a report of the responses from those surveyed; the second is a series of analyses of these results by different authors.
Several of the latter, in their recurrence to psychoanalytic para- digms, implicitly evince discomfort with the empirical approach upon with the book is posited, but it is the suspicion of the spectator herself that is most striking.
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This is in fact a useful volume in which Macchitella, a powerful figure, had much of interest to say about the industry and the relation of cinema and television. Taken from Repetto and Tagliabue, Vecchio cinema paradiso, p. The book presents the result of research commissioned by ANEC Associazione Nazionale degli Esercenti Cinematografici and is replete with tables and statistics.
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The author provides a brief survey of previous economic histories, pointing out the ideological limitations of her forebears; but she declares a special debt to the work of Christopher Wagstaff who, even if he styles himself an evangelical aesthete in his most recent work, is the revered guru of the economic history of Italian cinema even in Italy itself.
Con qualche dollaro in meno devotes a chapter to the history of the audience in Italy that explicitly refutes the commonplaces about the passive, philistine spectator that survive in the volumes by Repetto and Tagliabue. De Gaetano finds little that escapes this taxonomy if not his own preferred Deleuzian mode. The book also contains statistics on the consump- tion, distribution, and exhibition of films by year from to , as well as a mostly Anglophone bibliography. It also contributes to the stuttering historiography of the technology of the Italian cinema which is an important and under-researched part of the history of the industry.
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A comprehensive introduction to this aspect of Italian cinema has, to the best of my knowledge, yet to be written; the volumes in the Carocci collana cast light on particular, sometimes rather narrow aspects. The book contains instead just two shorter studies: Luca Mazzei writes on the use of masking inside the frame in early cinema; Federico Vitella writes on aspect ratios in the s, especially the use of cinemascope. Il cinema a basso costo in Italia negli anni sessanta contains, on the other hand, many shorter pieces by various authors on topics from sound technology in the genre pro- duction of the period to low-budget promotion and trailers, and once again an article on formats.
Il cinema a basso costo in Italia negli anni sessanta, ed. Two volumes collected by Marcello and Alessandro Gatti fur- nish an anecdotal bilingual Italian and a clumsy English translation chronicle of cinematographers told through quotation from writers, critics, and from the techni- cians themselves. Ditto Le voci del tempo, the thoroughly eccentric page history of dubbing and dubbers by Gerardo Di Cola. What can still be developed is the question and the history of the effect of dubbing on the style of the films, not to mention a broader history of post- synchronization as such.
At any given time, film studies in the Italian academy will be closely identi- fied with one of these figures. Currently, the key name is Francesco Casetti in Milan, Gandini, pp. I would like to close this article with a con- sideration of the aims and methods of this project, and to briefly discuss the seven volumes which have been published at the time of writing.
The first and final volumes are also planned to be longer, the former covering all the initial years of cinema and the latter spanning the period — See Farassino, p. All are divided into two parts. The first and longer of the two is devoted to sections containing at least Farassino, p. Wood, Italian Cinema Oxford: Berg, Spettatori, the volume edited by Fanchi and Mosco- ni and discussed above, does try to investigate continuities over a longer period from the point of view of consumption.
SCI vii, for example, covering the period —48, has documents on legislation, contemporary printed opinions on censorship including a text by Andreotti originally published in Bianco e nero , and reports from Italian embassies on the reception of neorealist films abroad. A second batch of documents collects contemporary criticism and debates about neorealism; a third contains materials reviews, reports, scripts and adapted fiction on neorealist texts themselves; and a fourth holds reports about the condition of the industry and the production infrastructure in various centres including Milan, Rome and Naples.
Plainly, SCI is a massively ambitious project and potentially of inestimable value. Every decent film library will wish to acquire the full set, and every writer who deals with Italian cinema is now bound to refer to it. However, its scope and its exact refraction of the concerns and so too the blind spots of the contemporary academy are also likely to constitute its limitations.
The breadth of the project inevitably permits a certain superficiality in parts, while still allowing much that one might find of interest to elude analysis. The question of gender is either unasked in SCI or treated as marginal to most of the material it includes; where Originally published in the Christian Democrat organ Libertas 28 February , it is also reprinted in Argentieri, Storia, pp. She goes on to offer fine short readings of films by Fellini, Ferreri and Piscicelli, but her assertion that a gender analysis cannot be made which encompasses auteurist and genre cinema is surely untenable.
Still, it would be invidious to dismiss SCI because of its gaps and omissions when the communal achievement of the whole is so admirable. In these conditions, SCI cannot be a summative work and is unable to offer a definitive picture of its subject; instead it renders a mosaic picture of the state of knowledge about the Italian cinema and the limitations of the paradigms employed to historicize that object.
Read more here. In the Korean-English dictionary you will find more translations. Dictionary Conjugation Phrases Games More by bab. See the example sentences for the use of "lo spettatore" in context. Similar translations Example sentences. Similar translations Similar translations for "lo spettatore" in English. English it him it him.
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English onlooker spectator viewer bystander cinemagoer looker-on member of the audience member of the public. Context sentences Context sentences for "lo spettatore" in English These sentences come from external sources and may not be accurate.