Guadagninos concern for representing gay romances is shared by other Western directors: a highlight of cinematic border crossings and contact zones as a backdrop for negotiating gender and race in professional and personal lives. But compared to the other films, Call Me By Your Name lacks a critique of class-based social inequality, revealing the limits of Guadagnino and possibly Italian fiction cinema on gay-themed subjects. He broadly researches on migration, mobilities, multiculturalism, media, rhetoric, ethics, masculinity, and meaning-making. My interest, and the focus of this paper, will be to explore whether contemporary transnational productions that have global distribution erase local specificity when making their LGBT characters legible to global audiences.
This paper seeks to investigate the kinds of cultural codes being used to represent these Italian LGBT identities. She is currently working on a co-edited volume on Queer Italian Media. Through the analysis of specific case studies — including Suburra: Blood on Rome , Gomorrah , Il Miracolo [The Miracle] — this paper will focus on the ways in which queer characters are represented, the discourses that circulate around them in the public sphere, as well as their apparent or mediated political potential. Giovanna Maina is post-doc research fellow at the University of Sassari Italy.
She has recently authored the book Corpi che si sfogliano. Her main research interests are contemporary alternative pornographies and Italian popular cinema. He has published widely on intertextuality, intermediality, media convergence, Italian popular cinema, and US pornography. Modelli di traduzione Are documentary films able to make a difference and surge above the fragmented, confusing, and noisy voices claiming our attention in the many social and digital spheres of our lives?
In other words, how can documentary films contribute meaningfully to social change? In this paper, I attempt to engage with these complex questions through a discussion of two films which are self-declared examples of documentaries for social change: Io sto con la sposa and 18 Ius Soli. Il diritto di essere italiani Both films address contested issues of citizenship, national identity, belonging, and mobility. These are matters which, arguably, rate highly among the most pressing concerns of our time. As far as the early production is concerned, the paper argues that the aesthetic of PCIs films was consequent to the subject of the film, and ultimately the outcome of a cultural and political elaboration carried out by the Party leadership and willingly adopted by Party filmmakers.
Mass Media in North Africa: From Print to Digital - Oxford Research Encyclopedia of African History
Communism, modernity and the left-wing North were associated with Socialist realism, in accordance with the Zhdanov Doctrine. Neorealism was the style of choice to represent backwardness and misery, and therefore the South of the country. The improvements in PCI film propaganda were also a consequence of the work by a new generation of professionals. The presentation will be using both conventional tools and a video-essay commentary.
ITALY World Heritage Sites encyclopedia for SMARTPHONES
His research interests revolve principally around the history of the Italian Left, cinematic propaganda, cinema and history, and the public and political use of history. Lo guarderanno circa dieci milioni di persone. Aree di studio: Media studies graphic novel, serie televisive , Geocritica, Women studies, Psicanalisi e Letteratura. Massimiliano L. During this period of political violence and organized as well as unorganized crime spreading uncontrollably through Italian streets, these films allegedly enabled viewers to purge themselves of the fear and intimidation they were subjected to in real life.
In this paper, I show the limits of the established understanding of catharsis in this context and delineate better the cultural function of the specific cathartic dynamic at play in this filone of films. His research interests include post-war Italian political cinema and literature, and experimental cinematic and literary works of the twentieth century. His dissertation focuses on Italian representations of political violence during the anni di piombo in film and literature.
Molti registi in Europa e negli Stati Uniti allargarono i limiti dello stile classico di regia cinematografica, iscrivendosi in quella logica produttiva che David Bordwell ha descritto come intensified continuity.
Come funziona un genere cinematografico Vita e Pensiero, ; Psicologia di unemozione. The central hypothesis of a potential cues framework is that identification with a narrative character is a multidimensional experience for which different dimensions are evoked by different audio-visual cues.
The conceptualization of identification distinguishes six dimensions: a spatiotemporal, a perceptual, a cognitive, a moral, an emotional, and an embodied dimension. It will be argued that from a cognitive perspective, a non-empirical approach and an empirical approach could be implemented in order to test the propositions. His main areas of research are Italian crime fiction and Italian cinema. He is particularly interested in the Italian economic miracle and its influence on crime as reflected in Italian literature and cinema of the post war period.
He is currently working on the concept of noir in the Italian context from a gender, cognitive and narratological theoretical approach. His early films used low-tech photographic methods to animate drawings as narratives in apartheid South Africa.
Using techniques of the pentimento and the slowness of time-lapse photography, his practice positioned itself between media, later expanded into projections for opera and transnational statements, for example in response to the trauma of the current global refugee crisis. Rome: Triumphs and Laments is a metre drawing on the walls of the Tiber, a public communication about the history of the city.
Mimicking the film strip on a massive scale, this work takes drawing far beyond its once subservient role as preparation for the main event of painting, sculpture, or architecture. It is partly due to the confluence with film that drawing has been salvaged from its erstwhile prefatory role. Film and drawing together enables the expansion of the latter while contributing critically to the interruption of suture in the former.
She holds a doctorate in Art History on the structural correlation between form and meaning in studio practices at the cusp of the nineteenth and twentieth centuries, an MA Fine Arts and a BA Fine Arts. Her recent research focuses on the expanded field of drawing, particularly in relation to history and political trauma in the twentieth and twenty-first centuries. Its history, landscapes, monuments, cultural elements and the character of its people have captivated the filmmakers and spectators from all over the world.
With a very developed cinematography since the silent period, directors of many countries decided to shoot there during the sound period, especially United States. Peplum, historical films, comedy and melodrama were the genres most developed in these years, especially between and The objectives of this work are to reflect on the tourist image that showed these Hollywood films shot in Italy, to observe which spaces are represented and to know which male and female characters are prototypes.
His lines of research are articulated around the film adaptations of Tennessee Williams, the construction and analysis of the audiovisual character, the classical, Spanish and Italian cinema, and the film representation of the History of Education. In particular, the urban scenarios designed for depicting a Roman upper-class group of bored intellectuals, have a pivotal role in the film: the city is indeed one of the main characters.
More specifically, it will be studied how, through the use of montage, music and dialogues, Sorrentino is creating two different urban dimensions, based on two different kinds of Rome: one dark, contemporary and brutal, and the other sublime and beautiful, but trapped in the past. Carla Molinari is currently Senior Lecturer in Architecture at the Leeds Beckett University and Honorary Associate of the University of Liverpool, conducting research on innovative interpretation of sequences and montage in architecture.
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She has a PhD in Theory and Critic of Architecture University Sapienza of Rome and has published on cinema and architecture, on the conception of architectural space and on cultural regeneration. In life, attempting to answer the question of fantasy always entails faulty imagined scenarios. Involving guilt in the process of casting suggests that it is an inherent part of the cinematographic image, as well as the process of creation—its translation from fantasy to film. Her research focuses on film and: psychoanalysis; theory; gender and gender-crossing; holocaust representations; ethics and aesthetics.
Her articles have appeared in international refereed journals. Her research deals with ethics in Israeli cinema and Holocaust representations, historical space in films, reflexivity, psychoanalysis, and aesthetics. The collapse of medium-specific borders easily maps onto s political hopes. But is ekphrastic hope still imaginable today, when border crossings are a matter of profound anxiety? Her research focuses on moving-image art: video, experimental cinema, and new media. She is currently preparing a monograph on contemporary video art and painting: Old Masters in a Moving Mirror.
The shows imaginary universe has been conceived in a way that allows complex and diverse forms of audience responses and engagement. Through offering up this systematic subversion of the rules, the show manages to generate contradictory feelings in audiences, ranging from fervent appreciation to agonized discomfort.
In this paper, the textual schematic of Game of Thrones is examined through the emotional reactions of Italian fans to themes and events of the show. In particular, the analysis of Italian followers comments on Game of Thrones, as reported in their own words, will be instrumental to illustrating the reasons for their passion for the series as well as the main concerns that arise during the viewing of this TV program. I argue that this process of cultural translation significantly reveals anxieties that underlie contemporary Italian society, due to recent migrations and its long-unacknowledged colonial past.
Through the adoption of an intersectional approach, I will examine the interracial relationship between Feven, an Eritrean-born woman, and Carlo, demonstrating that racial discourses are displaced onto gender preoccupations in a retreatist narrative that leaves race directly unaddressed.
Eleonora Sammartino holds a PhD in Film Studies from Kings College London, with a thesis on the relationship between gender identity and the contemporary American film musical. Her research interests include American film and theatre musical, feminist theories and popular media, star studies, and identity politics in Italian media.