Companion to Italian Cinema

Frank Burke is Professor Emeritus of Film at Queen's University, Canada. He is the author of Fellini's Films: From Postwar to Postmodern (1996) and Federico Fellini: Variety Lights to Dolce Vita (1984) and has co-edited Federico Fellini: Contemporary Perspectives (with Marguerite R. Waller, 2002). He has produced over 100 publications, keynote addresses, invited lectures, and special sessions on Italian and North American cinema, and has edited for the Canadian Journal of Political and Social Theory and Literature/Film Quarterly.

• Acknowledgments xiNotes on Contributors xiiEditor’s Notes xixGlossary xxPreface and In Memoriam xxivPart I First Things 11 Introduction 3Frank Burke2 Italian Cinema Studies: A Conversation with Peter Bondanella 16Frank BurkePart II Historical/Chronological Perspectives 29Silent Cinema 293 Silent Italian Cinema: A New Medium for Old Geographies 31Giorgio Bertellini4 Stardom in Italian Silent Cinema 48Jacqueline ReichFascism and Italian Cinema 655 Genre, Politics, and the Fascist Subject in the Cinema of Italy (1922–1945) 66Marcia LandyThe Italian Film Industry 836 Staying Alive: The Italian Film Industry from the Postwar to Today 84Barbara CorsiCinema and Religion 1037 Italian Cinema and Catholicism: From Vigilanti cura to Vatican II and Beyond 104Marco VanelliNeorealism 1218 The Italian Neorealist Experience: The Orphan Child and New Ways of Looking at the World 122Lorenzo Borgotallo9 Italian Neorealism: Quotidian Storytelling and Transnational Horizons 139Laura E. Ruberto and Kristi M. WilsonStardom and the 1950s 15710 Italian Female Stars and Their Fans in the 1950s and 1960s 158Réka BuckleyFilm Comedy—the 1950s and Beyond 17911 The Popularity of Italian Film Comedy 180Louis Bayman12 The Question of Italian National Character and the Limits of Commedia all’italiana: Alberto Sordi, Federico Fellini, and Carlo Lizzani 198Stephen GundleFrench]Italian Film Collaborations into the 1960s 21513 Cross]Fertilization between France and Italy from Neorealism through the 1960s 216Adriano ApràAuteur Cinema (1960s and 1970s) 22714 Italian 1960s Auteur Cinema (and beyond): Classic, Modern, Postmodern 228Veronica PravadelliPopular Film Genres (1950s to 1970s) 24915 Italian Popular Film Genres 250Austin FisherPolitics and/of Terrorism (1960s to the Present) 26716 The Representation of Terrorism in Italian Cinema 268Christian UvaItalian Cinema from the 1970s to the Present 28317 From Cinecitta to the Small Screen: Italian Cinema After the Mid]1970s Crisis 284Tiziana Ferrero]Regis18 Contemporary Italian Film in the New Media World 303Mary P. WoodPart III Alternative Film Forms 32319 Thinking Cinema: The Essay Film Tradition in Italy 325Laura Rascaroli20 Italian Experimental Cinema: Art, Politics, Poetry 340Sandra Lischi21 Notes on the History of Italian Nonfiction Film 361Luca Caminati and Mauro SassiPart IV Critical, Aesthetic, and Theoretical Issues 37522 A Century of Music in Italian Cinema 377Emanuele D’Onofrio23 The Practice of Dubbing and the Evolution of the Soundtrack in Italian Cinema: A Schizophonic Take 393Antonella Sisto24 Watching Italians Turn Around: Gender, Looking, and Roman/Cinematic Modernity 408John David Rhodes25 Women in Italian Cinema: From the Age of Silent Cinema to the Third Millennium 427Bernadette Luciano and Susanna Scarparo26 Imagining the Mezzogiorno: Old and New Paradigms 447Fulvio Orsitto27 The Queerness of Italian Cinema 467Derek Duncan28 An Accented Gaze: Italy’s Transmigrant Filmmakers 484Áine O’Healy29 How to Tell Time: Deleuze and Italian Cinema 500Angelo Restivo30 The Screen in the Mirror: Thematic and Textual Reflexivity in Italian Cinema 512Stefania Parigi31 Deterritorialized Spaces and Queer Clocks: Intertextuality in Italian Cinema 531Marguerite WallerPart V Last Things 55132 Forum: The Present State and Likely Prospects of Italian Cinema and Cinema Studies 553Flavia Brizio]Skov, Flavia Laviosa, Millicent Marcus, Alan O’Leary, Massimo Riva, Pasquale Verdicchio, and Christopher WagstaffIndex 572

"Burke’s meticulous editing forges fertile connections between the Canadian and American academies and those in the United Kingdom, Ireland, Australia and New Zealand. Also, Marco Vanelli Veronica Pravadelli, Stefania Parigi, Sandra Lischi and Christian Uva provide perspectives from Italian universities, resulting overall in a thorough, comprehensive overview of English language scholarship on Italian cinema."Matthew Griffith - Harvard UniversityJournal of Italian Cinema & Media Studies, Volume 7 Number 1