Manual Le maschere italiane (Lidentità italiana) (Italian Edition)

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Per Francesco, la regista si rimette in gioco da artista, riproponendo una visione del mondo sempre attuale. Ha prodotto film e documentari e collabora a riviste specializzate. She coordinates the MA programme in Film Studies. Between Philosophy and Literature Bloomsbury, , and E. Forster Revisited Solfanelli, She is currently completing a monograph on the filmic adaptations of Victorian and Neo-Victorian Literature. I prefer to live in Italy. For many people in the English-speaking world, Italy stands for beauty, passion and romance, and this is reflected in a long list of British and American movies.

David Leans film Summer Madness perfectly illustrates this attitude. Set in Venice, the film recounts the love affair between an inexperienced American spinster Katherine Hepburn and her passionate Italian lover Rossano Brazzi. Here, like in numerous other British and American movies which were often Italian co-productions , La Serenissima serves as a backdrop and inspiration for a romantic love story. Special attention will be paid to the citys function as a catalyst for erotic encounters.

The films discussed can thus be seen as contributions to Italian erotic cinema, a chapter of Italian film history that still has to be written. Contestualmente la Film Commission ha generato un forte potere di attrazione sulle produzioni internazionali Europa, Stati Uniti, India , che hanno utilizzato il Salento come set codificando un altro tipo di paesaggio.


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Questo intervento intende presentare alcuni casi di studio in grado di esemplificare gli approcci locali e transnazionali al paesaggio, sia in ambito documentaristico che finzionale. Fa parte del comitato di redazione di Segnocinema.

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As the West was forced to confront the rise of the former colonial, or economically colonized, world, a revolution occurred also at the level of language. Altrettanto importante, il documentario ottenne che la visione femminista dello stupro entrasse nella consapevolezza collettiva e nel dibattito nazionale sulla legge di riforma del delitto della violenza sessuale. Women behaving badly in crime and prison drama Intellect, Tra i suoi lavori : Public engagement e civic agency: percorsi di educazione alla cittadinanza, in Serpieri R.

Fabrizio , Representaciones y de construcciones , Dickinson, Madrid, ; con V.

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Giordano e S. Parisi eds. Esperienza e percezione del limite tra gli adolescenti , Franco Angeli, Milano, ; con L. Guadarrama Rico, J. Vilchis Valero. Suarez Villegas eds. Modelli, processi, contenuti , Carocci, Roma, I suoi interessi scientifici sono relativi al campo della comunicazione, del transmedia storytelling e dei consumi culturali. Si occupa inoltre di rappresentazioni televisive, con particolare riferimento alla fiction. Il protagonismo femminile nella fiction italiana , in M.

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Buonanno a cura di , Il prisma dei generi Angeli ; Sulle onde sonore. Strategie e usi sociali della musica alla radio , in A. De Benedictis e F.

El arte de la conversacion, el arte de la composicion (Spanish Edition)

I suoi principali interessi scientifici sono relativi al campo della comunicazione, dei social media e dei consumi culturali. Tra le sue principali pubblicazioni, Infiniti Anni Ottanta , Homo Communicans , Potere e comunicazione: Media, politica e istituzioni in tempi di crisi She will address La dolce vita as a musical continuum that fills up the vacuity of precarious existence, thus pointing as an idea to the ways in which sound as created artifact, through its own surplus, has the power to undermine subjectivity, while in the breaks of the continuum, sounds of nature become vehicles for an appeal to intimacy, interiority, and relational being.

She received her PhD from Brown. She is the author of Petrarchs Poetics and Literary History and essays in European medieval and Renaissance literature, European cinema studies, transnational feminist media studies, new media, border art, and eco-cinema. Her areas of interest include Italian cinema, Deleuzian theory, cinema of poetry, intermediality, literary translation, lyric essay and creative writing. A poet and creative nonfiction writer, as well as a scholar, her lyric essay Marathon Meditation was published in the Los Angeles Review of Books Quarterly Journal , and her untitled short poem recently won the Santa Clarita Sidewalk Poetry Contest.

He has published on American, Italian-American, and Italian cinema. Phantasmagoria, the Magic Lantern, the Moving Panorama, and then the cinematographic screens are just some of its most typical expressions. The digital revolution has intensified and multiplied our exposure to new screens, such as computer monitors, mobile phones, GPS devices, video games consoles, augmented reality, necessarily involving us in new experiences of mobility, tactility, interactivity, connectivity and immersion. This panel aims to explore how the Italian arts have creatively responded to the concept and materiality of screens in various forms of intermediality across cinema, video art, video installations, theatre, architecture and urban spaces across the decades.

Our papers will concentrate on three periods: ss, s and the New Millennium. Screens and theatricality in Italian art, c. This talk will consider this historical proliferation through the lens of art, by looking at various manifestations of — and takes on — the screen in Italian art of the period, focusing on the vetrini of Bruno Munari ss , the schermi and projections of Fabio Mauri ss , and the Environmental Screen of Marinella Pirelli Revisiting, among others, Michael Frieds well-known notion of theatricality or theatre , and Stanley Cavells conception of the screen as a barrier , I will consider how a significant number of artists in these decades sought to engage both cinema and theatre, and to challenge the barrier of the screen.

The engagement of the screen in the works of Munari, Mauri and Pirelli, where screens envelop ordinary objects, or become props or even stages for the viewer, are exemplary of such attempt to articulate cinema theatrically, so to speak, as an intermedial force which may undo, or at least re-draw, the boundaries of art and its disciplines. Her research explores the interrelations between art and cinema, film and photography, live and recorded media, with a focus on post practices.

Emanuela Patti Royal Holloway, University of London, UK Beyond computer screens: projecting digital moving images in public spaces In this paper, I will explore creative practices which experimented with the projection of computer-generated images beyond their original setting, namely the computer monitor. I will particularly emphasise and compare the purpose and reception of these practices in the period ss and today, as well as the role they have had in our perception of space.

Her research interests range across a variety of areas, including modern and contemporary Italian culture, digital screen cultures, intermediality. Ha pubblicato il libro L'apocalisse postmoderna tra letteratura e cinema Le Lettere, , curato il volume Imaginary Films in Literature Rodopi, assieme a S. Ercolino, M. Fusillo e L. Ha pubblicato articoli e saggi su cinema e letteratura, sul digital storytelling e i nuovi media.

Collabora con diversi FilmFest e WebFest. Di prossima uscita il volume co-curato con Silvia Antosa, Sex t ualities. Morfologie del corpo tra visioni e narrazioni Mimesis, Chair: Colleen M. In Italy the series is available on TimVision and, similarly to the American context, followed by large audience. Francesca is currently working a new edited collection on women and food in Italian literature, cinema and other forms of visual arts. Sordi, Comedy Italian Style Springer, Such perceptions of aging may result from the generally limited presence of senesce onscreen.

A monograph-length study on the topic of senescence in Italian cinema has yet to be carried out. Scholarship is limited in scope and follows a decidedly gendered division. Working towards the closure of this lacuna, this paper proposes five avenues for future research on aging in Italian film studies: 1. The synecdocal relation of the national Italian body and onscreen representations of death and decline in old age; 2.

Sexuality in the silver years; 4. Tradition, transition, and generational conflict; and 5. More meaningful images of old age. Lisa works primarily on contemporary Italian cinema and culture, and is particularly interested in the topics of migration, aging, and masculinity. Her refereed journal articles interrogate the fluid sexual and racial identities of migrant protagonists onscreen. Along with preparing a monograph for publication, tentatively titled Screening Sterile Masculinity: On Male Migrants, Italian Men, and the Future of Italy , she is working on a project that investigates representations of aging in Italian cinema.

Critics praise his work for its subtle intertextual ramifications, its original editing, its combination of a distant, burlesque and intimistic tone Curnier At first sight, Tableau avec chutes mainly portrays different sites and types of footage related to immigration showing how migrants can reconnect to their roots. Her main area of research is Italian border literature. Her most recent research interests focus on trauma literature, cultural memory and Jewish-Italian literature Liana Millu, Giuliana Tedeschi, Luciana Nissim, Aldo Zargani and on the new Italian documentary of the Italian diaspora.

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Rivista europea di studi italiani. From the late s to the early s, the contribution of Italian filmmakers to the development of South American cinema was monumental. Three countries that specifically benefited from the contribution of Italian filmmakers were Brazil, Argentina, and Colombia. Moreover, little is known about the contribution of Italian artists to Colombia's silent cinema in which Italian filmmakers have had the biggest involvement.

The objective of this presentation is to enrich Italy's filmography by introducing all the Italians artists known to date who significantly influenced the foundation of Colombia's national cinema. Currently, Camilo is conducting research on Colombian silent cinema for his Ph.

Ancora oggi, l'attenzione su questa presunta dicotomia rimane non priva di discussioni. We intend migration primarily as the movement of people across national borders, as it is represented in film and media, but also the movement of performers, directors, and scripts across different movie industries. Moreover, the maternal bodies represented on the screen interacted with off-screen images of the divas circulating on the magazines of the time, often represented within domestic and family environments, which contribute to define the social meaning of the stars as "mediated texts" and to narrate specific iconographies of the maternal.

Drawing upon the interdisciplinary theoretical basis of stardom studies and gender studies, this paper seeks to historicize specific discourses on female divismo and transnational motherhood in postwar Italian and Hollywood cinema. She has written widely on film genres and gender representation is postwar Italian cinema and is the author of Ercole, il divo AIEP, She was also co-editor of Italian Motherhood on Screen Palgrave, with Giovanna Faleschini-Lerner and is currently working on motherhood and media representantions.

I argue that these encounters not only illustrate the role played by Italian cinema within current migration discourses in Italy and Europe, but also help us reflect on the posts Southern Italian folk music and dance revival as a promoter of social change through grassroots and locally-engaged efforts.

The Jews in Italy under Fascist and Nazi Rule, 1922-1945

Indeed, the current Southern Italian folk music and dance revival has encouraged a re-thinking of Southern Italian identity from a postcolonial perspective and as part of a larger, Mediterranean identity. Originally from Benin, Ibi had started recording her life in Italy through photography and videography, which allowed her to share her experience of displacement with her children and her mother in Africa, where--as an undocumented immigrant--she could not hope to return without risking permanent deportation.

Photography was also her business--she worked as a wedding and event photographer and videographer within the African communities of Castel Volturno, as well as for the Cultural Center where the Movement for Migrants and Refugees of Caserta met. When she died in , Segre decided to tell her story through her images, thus producing the first film almost entirely based on visual self-narration by a migrant woman.