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1
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VIZUÁLNÍ SLAST A TĚLESNÁ ROZKOŠ JAKO PRVKY NAPÍNAVÉ SPEKTAKULÁRNÍ PODÍVANÉ. MODELY HARDCORE EROTIKY V ITALSKÝCH POPULÁRNÍCH ŽÁNRECH SEDMDESÁTÝCH A OSMDESÁTÝCH LET

100%
Švábenický J.
Slovenské divadlo (Slovak Theatre)
|
2019
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vol. 67
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issue 4
310 – 321
EN
This study deals with hard core erotica in popular genres of Italian cinema in the period of the 70’s and 80’s. Pointing to the example of various movies on the difficult application of the term pornography in Italian cinema and leans toward the concept of hard core erotica that accurately defines the measure of intensity in the imaging of sex. The text simultaneously examines connections between soft and hard erotica in Italian popular genres, in the context of explicit forms of erotica that present questionable borders between soft and hard elements in the thrilling spectacle. The study perceives the problematics as a socio-cultural phenomenon which has gradually developed from the filming of hard core scenes for movies designed for common cinemas, directly to production of purely hard core erotic movies for the adult audience. Part of the analysis is also a view on practices and procedures of foreign distribution companies that ordered special material from Italian filmmakers, with hard core sequences for movies of various popular genres and for soft core erotic movies. Hard scenes for some Italian movies were created from the initiative of distributors directly abroad. The text also presents several examples showing the creation of directors of various popular genres, who began filming hard core erotic movies at the turn of the 70’s and 80’s for special screenings in night cinemas and for video distribution. Some directors – for example Aristide Massaccesi who used the pseudonym Joe D’Amato – served hard core elements to make a special genre style of thrilling spectacle. Massaccesi on the contrary also used various genre levels to create a concept hard core erotica as a new form of imaging of sex on the screen. This text is generally focused on semantic connections between genre structures and hard core erotica.
2
Content available remote

OD ŽÁNROVÉ TERMINOLOGIE K SOCIOKULTURNÍMU FENOMÉNU. MULTIDISKURZIVNÍ OBRAZ POPULÁRNÍCH ŽÁNRŮ V ITALSKÉ KINEMATOGRAFII 60. A 70. LET – 1. ČÁST

88%
Švábenický J.
Slovenské divadlo (Slovak Theatre)
|
2012
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vol. 60
|
issue 1
49 – 68
EN
The study examines popular genres in Italian cinema of 1960s and 1970s as a sociocultural phenomenon in the context of cultural background and film industry. The text is structured as interdisciplinary interpretation and explores the theme in the level of textual and inter-textual analysis. It includes wide framework of various aspects related to questions of the subject of study. It examines also Italian genre terminology and titles of some films that belong to popular cycles and series of concrete genres. It demonstrates that interests and intentions of filmmakers, producers, distributors and the audience with regard to film genres are absolutely different. The text is based on methodological approach of interdisciplinary conception of history of Italian cinema that was elaborated by film historian and theorist Gian Piero. The first part of the study is focused on two Italian genres: peplo or storico-mitologico (in the foreign context, the genre is known as peplum or sword and sandals) and western all‘italiana (in popular and academic writing about cinema known also as spaghetti-western).
3
Content available remote

OD ŽÁNROVÉ TERMINOLOGIE K SOCIOKULTURNÍMU FENOMÉNU. OBRAZ NOVÝCH POPULÁRNÍCH ŽÁNRŮ V ITALSKÉ KINEMATOGRAFII 60. A 70. LET – 2. ČÁST

88%
Švábenický J.
Slovenské divadlo (Slovak Theatre)
|
2012
|
vol. 60
|
issue 2
205 – 218
EN
The study examines popular genres in Italian cinema of 60's – 70's as a sociocultural phenomenon in the context of cultural background and film industry. The text structured as inter-disciplinal interpretation explores the theme in the level of textual and inter-textual analysis and includes wide framework of various aspects related to questions of elected subject of study. The essay examines also Italian genre terminology and titles of some films that belongs into popular cycles and series of concrete genres. The study demonstrates on some examples that interests and intentions of filmmakers, producers, distributors and audience with regard to film genres are absolutely different. The text is based on methodological approach of inter-disciplinal conception of history of Italian cinema that applies Italian film historian and theorist Gian Piero Brunetta in his long series of books and several times revised and completed work.
4
Content available remote

SOUNDTRACKY: SOCIOKULTURNÍ FENOMÉN NA POMEZÍ HUDEBNÍHO A FILMOVÉHO PRŮMYSLU. FILMOVÁ HUDBA K POPULÁRNÍM ŽÁNRŮM V ITALSKÉ KINEMATOGRAFII 60. – 70. LET

88%
Švábenický J.
Slovenské divadlo (Slovak Theatre)
|
2014
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vol. 62
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issue 4
409 – 421
EN
This paper analyses and examines film music and soundtracks using the example of selected categories of popular genres of Italian cinema of the 1960s and 1970s. The focus of interpretative interest is the trans-genre, sociocultural and industrial meanings and discourses of Italian film music as an integral part of popular culture at the time when soundtracks gained new importance as Italian popular culture was transforming. The article interprets the new compositional methods of Italian film composers, the cultural and industrial relationship between music labels and film production companies and especially the popular cultural connections of film music with particular popular genres of Italian cinema in the 1960s and 1970s. It also takes into account the 1950s, 1980s and 1990s. There is an emphasis on the categories of popular genres, such as “western all'italiana” (Italian/Spaghetti Westerns), “erotico all'italiana” (Italian erotic films) and “musicarello all'italiana” (Italian musical films), that were part of the main industrial discourse of Italian cinema in the 1960s and 1970s.
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