The New Neapolitan Cinema provides close analysis of the whole of this movement, which stands as one of the most vital and stimulating currents in contemporary European Cinema.

This cinema history illuminates the role of southern Italian performance traditions on American movies from the silent era to contemporary film. In Napoli/New York/Hollywood, Italian cinema historian Giuliana Muscio investigates the significant influence of Italian immigrant actors, musicians, and directors on Hollywood cinema. Using a provocative interdisciplinary approach, Muscio demonstrates how these artists and workers preserved their cultural and performance traditions, which led to innovations in the mode of production and in the use of media technologies. In doing so, she sheds light on the work of generations of artists, as well as the cultural evolution of “Italian-ness” in America over the past century. Muscio examines the careers of Italian performers steeped in an Italian theatrical culture that embraced high and low, tragedy and comedy, music, dance, acrobatics, naturalism, and improvisation. Their previously unexplored story—that of the Italian diaspora’s influence on American cinema—is here meticulously reconstructed through rich primary sources, deep archival research, extensive film analysis, and an enlightening series of interviews with heirs to these traditions, including Francis Coppola and his sister Talia Shire, John Turturro, Nancy Savoca, James Gandolfini, David Chase, Joe Dante, and Annabella Sciorra.

This collection of essays examines the themes and styles that characterize the new millennium work of Italian film directors from different generations. These artists range from Marco Bellocchio, Dario Argento, Marco Tullio Giordana, and Nanni Moretti, who made their name in the 1960s and 1970s, to Oscar winners such as Gabriele Salvatores who forged their careers in the late 1980s. The volume also features essays on Ciprì and Maresco, Emanuele Crialese, Cristina Comencini, as well as work on successful new millennium directors such as Paolo Sorrentino and Matteo Garrone whose controversial films examine the nature of interpersonal relations and the individual’s rapport with Italian society today. The essays illustrate the way in which contrasting images of Italy and its provinces emerge in the work of different directors; what links new millennium Italian screen protagonists, film directors, and even individual spectators is often a sense of being at the centre of oppressively converging social, economic, and political forces and having diminishing opportunities and space for self-realization. The contributors to the volume are academics who have also worked as film critics, visual artists, film industry administrators, and, indeed, as film-makers, and the book’s foreword has been written by Geoffrey Nowell-Smith.

The Cinematic City offers an innovative and thought-provoking insight into cityscape and screenscape and their inter-connection. Illustrated throughout with movie stills, a diverse selection of films (from 'Bladerunner' to 'Little Caesar'), genres, cities and historical periods are examined by leading names in the field. The key dimensions of film and urban theory are introduced before detailed analysis of the various cinematic forms which relate most significantly to the city. From early cinema and documentary film, to film noir, 'New Wave' and 'postmodern cinema', the contributors provide a wealth of empirical material and illustration whilst drawing on the theoretical insights of contemporary feminism, Benjamin, Baudrillard, Foucault, Lacan, and others. The Cinematic City shows how the city has been undeniably shaped by the cinematic form, and how cinema owes much of its nature to the historical development of urban space. Engaging with current theoretical debates, this is a book that is set to change the way in which we think about both the nature of the city and film. Contributors: Giuliana Bruno, Iain Chambers, Marcus Doel, David Clarke, Anthony Easthope, Elisabeth Mahoney, Will Straw, Stephen Ward, John Gold, James Hay, Rob Lapsley, Frank Krutnik

This book draws on a growing body of work in the history and theory of children on film and applies some of these new approaches to Italian cinema for the first time. In considering issues such as gender, the transnational, mourning and filmmaking itself the book maps out a revised understanding of the child in Italian film.

"Feminisms in the Cinema provides a platform for both women filmmakers and the women who analyze their films." --Bloomsbury Review "... invaluable... [demonstrates] how gender and genre intersect... how feminisms are flourishing, at home and abroad." --Women's Review of Books Well-known feminist theorists juxtapose their work with that of women filmmakers. Each writer addresses some aspect of marginality, discussing it as a political strategy and as a challenge to power structures.

Francesco Rosi is one of the great realist artists of post-war Italian, indeed post-war world cinema. In this book, author Gaetana Marrone explores the rich visual language in which the Neapolitan filmmaker expresses the cultural icons that constitute his style and images. Over the years, Rosi has offered us films that trace an intricate path between the real and the fictive, the factual and the imagined. His films show an extraordinarily consistent formal balance while representing historical events as social emblems that examine, shape, and reflect the national self. They rely on a labyrinthine narrative structure, in which the sense of an enigma replaces the unidirectional path leading ineluctably to a designated end and solution. Rosi's logical investigations are conducted by an omniscient eye and translated into a cinematic approach that embraces the details of material reality with the panoramic perspective of a dispassionate observer. This book offers intertextual analyses within such fields as history, politics, literature, and photography, along with production information gleaned from Rosi's personal archives and interviews. It examines Rosi's creative use of film as document, and as spectacle). It is also a study of the specific cinematic techniques that characterize Rosi's work and that visually, compositionally, express his vision of history and the elusive "truth" of past and present social and political realities.

Since its beginning and during periods of great transformations, movie-going for both men and women was akin to going to a fashion parade. Before the explosion of digital technology and its enchanted world, access to fashion was only accessible on the big screen. Fashion and style became reachable for the masses through cinema. And, with the genre of the fashion film, this continues today. Focusing on a number of crucial films and directors from the silent era to the present, this study will offer, for the first time, an in-depth exploration of the interaction between fashion and Italian cinema. The study, however, will privilege the golden age of Italian cinema, especially the crucial decades of the 1950s and 1960s during which, through the marriage of fashion and film, Italian fashion and style were launched globally. Through the lens of fashion, the study will revisit the films of some of Italy's most important film-makers, such as Antonioni, Fellini, Visconti and others and films as old as Mario Oxilia's silent Rapsodia Satanica (1917) to Luca Guadagnino's I am Love (2009).

Col. ill. and maps on inside covers, and detachable col. map of Naples affixed to flap of p. [3] of cover.