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1

"Noc Świętego Wawrzyńca". Cienie (zapomnianych) przodków.

100%
Miller-Klejsa A.
Kwartalnik Filmowy
|
2013
|
issue 81
133-144
PL
Autorka analizuje "Noc świętego Wawrzyńca" ("Notte di San Lorenzo", reż. P. i V. Taviani, 1982), umieszczając film w kontekście innych włoskich produkcji łączących problematykę wojennych doświadczeń Włochów oraz perspektywę dziecka. Autorka wskazuje na obecne w filmie wątki religijne i mitologiczne, a także podejmuje próbę interpretacji dziecięcej perspektywy przyjętej w filmie – zabieg ten wpływa bowiem nie tylko na oniryczno-baśniową tonację filmu, ale niesie zarazem istotne konsekwencje dla jego wymowy. Przefiltrowanie wydarzeń z czasów II wojny światowej przez pryzmat świadomości dziecka prowadzi w istocie do wizji odkonkretnionej. Czyżby Taviani sugerowali w ten sposób, że w Italii lat 80. II wojna światowa była dla Włochów historią równie odległą, co starożytne mity i tylko w takiej formule mogła być zrozumiana? A może wręcz przeciwnie – charakter legendy nadany wojennym wydarzeniom ma wskazywać na trwałość tego konfliktu w zbiorowej pamięci i jej istotność dla włoskiego dziedzictwa kulturowego?
EN
The author examines 'The Night of St. Lawrence' ('Notte di San Lorenzo', dir. P. and V. Taviani, also known as 'The Night of the Shooting Stars'), placing the film in the context of other Italian production dealing both with the experience of war by Italians and the perspective of the child. The author points to the religious and mythological themes present in the film, and attempts to interpret the child’s perspective adopted in the film, as the perspective has an impact not only on the oneiric, fairy tale like tone of the film, but also carries significant implications for its message. Filtering the events of the Second World War through the perspective of the child’s consciousness leads to a vision somewhat detached from the reality. Were Taviani brothers suggesting in such a manner that in 1980s Italy World War II was for the Italians as distant as the ancient myths, and could only be understood through such a formula? Or maybe on the contrary – the legendary character given to war events is to show the durability of this conflict in the collective memory and its significance for the Italian cultural heritage?
2

Of Artists and Models. Italian Silent Cinema between Narrative Convention and Artistic Practice

100%
Blom I.
Acta Universitatis Sapientiae, Film and Media Studies
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2013
|
vol. 7
|
issue 1
97-110
EN
The paper presents the author’s research on the representation of painters and sculptors, their models and their art works in Italian silent cinema of the 1910s and early 1920s. This research deals with both the combination of optical (painterly) vs. haptical (sculptural) cinema. It also problematizes art versus the real, as well as art conceived from cinema’s own perspective, that is within the conventions of European and American cinema. In addition to research in these filmic conventions the author compares how the theme manifests itself within different genres, such as comedy, crime and adventure films, diva films and strong men films. Examples are : Il trionfo della forza (The Triumph of Strength, 1913), La signora Fricot è gelosa (Madam Fricot is Jelous, 1913), Il fuoco (The Fire, Giovanni Pastrone, 1915), Il fauno (The Faun, Febo Mari, 1917), Il processo Clemenceau (The Clemenceau Affair, Alfredo De Antoni, 1917) and L’atleta fantasma (The Ghost Athlete, Raimondo Scotti, 1919). I will relate this pioneering study to recent studies on the representation of art and artists in Hollywood cinema, such as Katharina Sykora’s As You Desire me. Das Bildnis im Film (2003), Susan Felleman’s Art in the Cinematic Imagination (2006) and Steven Jacobs’s Framing Pictures. Film and the Visual Arts (2011), and older studies by Thomas Elsaesser, Angela Dalle Vacche, Felleman and the author.
3
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Narrative synergies – Christ stopped at Eboli: The writing of Carlo Levi in the view of Francesco Rosi

75%
Trapani G., Trapani G.
Kwartalnik Neofilologiczny
|
2019
|
issue 2
4
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Fellini-Roma : sur les bords du Léthé. Un usage fellinien de la métalepse

75%
Tubman-Mary A.
Academic Journal of Modern Philology
|
2021
|
issue 11
187-198
EN
In Fellini’s Roma, the famous sequence in which ancient frescoes are discovered during the construction of the subway is a key scene and an allegory of his filmic and artistic approach. But Fellini’s boldness goes further. During the sequence, the filmmaker, using a somewhat fantastic shortcut, breaks through the wall that separates the world of the living and the forgotten world of ancient figures. He thus uses metalepsis at the heart of the film. Figures who were about to fade away under the effect of the outside world come again to life in his film, just as, in Virgil, the souls of the dead, grouped on the banks of the river Lethe, are waiting in the hope of returning to the world of the living. The film has often been compared to a patchwork, or a mosaic, imaging a complex and stratified city. But rather than a mosaic, we should speak of threshold crossings, that is to say rhetorical effects, amongst which the main one could be metalepsis. Fellini’s Roma is not only a melancholic and hectic fresco of a visionary director, but also an ever-moving network of initiatory paths. Through the Fellinian shifts and transgressions, it is the incessant renewal of Rome which is shown.
5
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La diva gentile. Soava Gallone nelle riviste cinematografiche italiane dal 1915 al 1925

63%
Simeone M.
Italica Wratislaviensia
|
2015
|
issue 6
239-252
EN
This article illustrates the critical reception of Soava Gallone, born Stanislava Winawer, according to Italian movie magazines between 1915 and 1925. The career of the Polish actress, who settled in Italy in 1911, developed especially during the golden age of the “Diva-Film”, a proper Italian film genre that focuses attention on female roles and on the characters that they play, of Symbolist and Dannunzian derivation. The actress’ approach to her craft was a far cry from the canons of the “divas” of that time, who were characterised by languid gazes and mannered poses. While Lyda Borelli, Francesca Bertini, Pina Menechelli played mainly “femmes fatales”, Soava Gallone preferred more reassuring characters whose seductive implications were often derived from the cruelty of the male characters. In Avatar (Carmine Gallone, 1915), Gallone played a loyal wife; in Senza Colpa! (Carmine Gallone, 1915), she played an innocent woman forced to defend herself from an attempted rape with homicide; in La Chiamavano Cosetta (Eugenio Perego, 1917), she portrayed a woman pushed to false desires for luxury and wrongful wishes, having been ripped from her simple world. Finally, in Il Bacio di Cyrano (1919), Maman Poupée (1919), Amleto e il Suo Clown (1920) and Marcella (1921), she consistently portrayed the same type of character: a gentle woman with angelic features. Even the public image she tried to build for herself was that of a reassuring, smart and cultured woman. The photographs depicting her never showed her in poses as seductive as those of Menechelli or Bertini, and for the majority of the columnists of the Italian press of those years, Soava Gallone was described as “the pale blonde creature”, “the beautiful, simple and spontaneous [one]”, the “gentle and pleasing interpreter”.
IT
Il mio intervento intende illustrare la ricezione di Soava Gallone, nata Stanislawa Winawer, attraverso le riviste cinematografiche italiane tra gli anni 1915-1925. La carriera dell’attrice polacca, trapiantata in Italia nel 1911, si sviluppa soprattutto durante il periodo d’oro del “Diva-Film”, un vero e proprio genere cinematografico italiano che si concentra sulle interpreti femminili e sui personaggi che queste interpretano, di derivazione simbolista e dannunziana. L’attrice si caratterizza per un atteggiamento ben diverso rispetto ai canoni delle “dive” del tempo, tutte occhi languidi e pose manierate. Lyda Borelli, Francesca Bertini, Pina Menechelli interpretano soprattutto ruoli da femme fatale, Soava Gallone, invece, preferisce personaggi più rassicuranti, i cui risvolti seduttivi sono spesso derivati dalla crudeltà dei personaggi maschili. In Avatar (Carmine Gallone, 1915) è una moglie fedelissima, in Senza colpa! (Carmine Gallone, 1915) una creatura innocente costretta a difendersi da una tentata violenza con l’omicidio, in La chiamavano Cosetta (Eugenio Perego, 1917) viene spinta al lusso e a desideri sbagliati perché strappata dal suo mondo ingenuo. E ancora in Il bacio di Cyrano (1919), Maman Poupèe (1919), Amleto e il suo clown (1920), Marcella (1921), il suo è sempre un personaggio delicato e dai tratti angelici. Anche l’immagine pubblica che cerca di costruirsi è quella di una donna rassicurante, intelligente e colta. Le fotografie che la ritraggono non la mostrano mai nelle pose seduttive di una Menechelli o di una Bertini e per la maggior parte degli articolisti della stampa italiana di quegli anni, Soava Gallone è “la tenue bionda creatura”, “la bellissima, semplice e spontanea”, la “gentile e soave interprete”.
6
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“Things Change but the Amerecano Is Here to Stay”: America in Italian Popular Movies of the 1980s

63%
Zangari S. M.
Review of International American Studies
|
2013
|
vol. 10
|
issue 2
EN
Sostene M. ZangariUniversity of MilanItaly“Things Change but the Amerecano Is Here to Stay”: America in Italian Popular Movies of the 1980sThe article focuses on a number of film comedies of the early 1980s. In different ways, the movies rearticulate the relationship between Italy and the United States. In showing how Italians can beat Americans at sports, how they can indulge in conspicuous consumption and finally how even the United States are not alien to provincialism and backwardness, these movies express a new mood of confidence that was widely felt in Italian society at the time. However, these movies came at a moment when the Italian film industry was on the verge of its decline. Starting from the 1980s, in fact, American movies and distributors would colonize the Italian movie market and depress the Italian movie industry.
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