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Italian Women Filmmakers and the Gendered Screen

Part of the Italian and Italian American Studies Book Series

Editors: Cantini, Maristella

DOI: 10.1057/9781137336514

ISBN: 978-1-349-46352-7

Publisher: Palgrave Macmillan US - Springer Journals

Nov 2, 2015

1 - 10 of 17 Chapters

Available

Introduction

Cantini, Maristella

Pages: 1 –11

[The idea for this book began to develop a long time ago. After much consideration, I discussed the project with cinema scholars and several colleagues who work primarily on Italian film studies. The response produced by our conversations was unmistakably similar: “Are you sure you have enough...
Available

Napoli Terra d’Amore

Ricci, Chiara

Pages: 15 –32

[When talking about women in the history of cinema, it is a must to remember the first Italian woman filmmaker—Elvira Notari.2 In order to understand how groundbreaking her work is, we have to take a look at the historical time frame and the social context in which this artist lived and created...
Available

Grotesque Bodies, Fragmented Selves

Consolati, Claudia

Pages: 33 –52

[Lina Wertmüller’s now classic 1970s films might seem the quintessential incarnation of feminist Claire Johnston’s call for a women’s political countercinema operating within the codes of the traditionally patriarchal entertainment film.1 The Italian filmmaker has in fact repeatedly proclaimed...
Available

Don’t Bring a Gun to a Fistfight

Hopkins, Lidia Hwa Soon Anchisi; Cuculis, Luke

Pages: 53 –71

[When Lina Wertmüller’s satirical comedies made their appearances in American movie theaters in the 1970s, critics and audiences alike were strongly divided (Bullaro 2006; Wertmüller 2006; Masucci 2009).1 The reception of Pasqualino Settebellezze was particularly controversial: on the one hand,...
Available

Adventurous Identities

Marrone, Gaetana

Pages: 73 –88

[Film is a medium that invites the spectator to imagine altered states: we sit in the dark and see shadows move across a screen, flesh and blood actors altered into phantoms. Sometimes this is thematized, as in Hitchcock’s Vertigo, where Kim Novak first alters herself, then is altered to look...
Available

Healing the Daughter’s Body in Francesca Archibugi’s Il Grande Cocomero

De Pau, Daniela

Pages: 89 –101

[In this essay, I explore the connection between women’s mental health and gender violence within the Italian family through the analysis of a destructive mother-daughter relationship and the resulting transgenerational transmission of psychological problems that allow, from a female perspective,...
Available

Motherhood Revisited in Francesca Comencini’s Lo Spazio Bianco

Karagoz, Claudia

Pages: 103 –119

[An accomplished director from a well-known family of filmmakers, Francesca Comencini is also an outspoken critic of the misrepresentation of women in the Italian media, and of right-wing legislative interventions regulating women’s sexuality and reproductive rights.1 For example, Comencini is...
Available

Women in the Deserted City

Di Bianco, Laura

Pages: 121 –147

[During the last two decades in Italy, a new generation of women filmmakers has established its own space in the traditionally male-dominated film industry. This burgeoning group represents and positions female subjectivity in new and complex ways, specifically in urban contexts, which act not...
Available

Envisioning Our Mother’s Face

Gamberi, Cristina

Pages: 149 –171

[Alina Marazzi occupies a very special place in the history of Italian women filmmakers for her experimental style and feminist approach.1 By using found footage and home movies Alina Marazzi questions the Western representation of the “Woman” and re-visions real women’s complex interior...
Available

Alina Marazzi’s Women

Cecchini, Fabiana

Pages: 173 –193

[Film scholars discuss the inception of New-New Italian Film in La Meglio Gioventù. Nuovo Cinema Italiano 2000–2006 (Zagarrio 2006: 11), and identify a mixed generation of directors and producers engaged in the creation of a “cinema diverso” (different cinema) for the new millennium (12)....

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