Contributors

Maristella Cantini is assistant professor of Italian at De Pauw University, IN. She holds a PhD from the University of Wisconsin Madison, and a Laurea in foreign languages and literatures from the University of Pisa (Italy). Her research interests are centered on Italian women’s literature, women’s cinema, and postfeminist studies. Her forthcoming publications include two monographic works, respectively, about a contemporary Italian woman writer, and a woman director.

Patrizia Carrano was born in Venice but lives and works in Rome. She has written plays and screenplays for theater and TV, including for several successful and popular TV series that gained a 34 percent audience share. She has published 17 books, and her essays range from Malafemmina. La Donna nel Cinema Italiano (1977) to the biography of actress Anna Magnani, La Magnani, il Romanzo di una Vita (1981, 2004). Her novels include Illuminata: la Storia di Elena Lucrezia Cornaro, Prima Donna Laureata nel Mondo (2000), Notturno con Galoppo (1996), and Le Armi e gli Amori (2003). She has received numerous awards and was recognized by the “Rhegium Julii opera prima” at the Premio Milano. As a journalist she has written for Sette, the magazine of Corriere della Sera, Elle, Amica, and other newspapers. Her forthcoming novel is Doppi Servizi, which narrates sixty years of Italian history through the gaze of the domestic staff of a bourgeois family.

Fabiana Cecchini is an instructional assistant professor at Texas A&M University. She holds a Laurea in Lingue e Letterature Straniere (English and French) from the Università degli Studi di Urbino (Italy) and a PhD in Italian studies from the University of Pennsylvania, Philadelphia, PA. Her main scholarly interests are women’s studies, film studies, and the relationship between film and literature. She has published on Sibilla Aleramo, the nineteenth-century author and feminist and, in cooperation with Ioana Raluca Larco, recently has coedited a collection of essays focused on Italian women writers: Italian 274 CONTRIBUTORS

Women writers and Autobiography. Ideology, Discourse and Identity in Female Life Narratives from Fascism to the Present (Newcastle upon Tyne: Cambridge Scholars, 2011).

Claudia Consolati is completing her PhD in Italian, cinema, and gender studies. Consolati holds academic certificates from the Center for Teaching and Learning; and the Gender, Sexuality, and Women’s Studies, and Cinema Studies programs at the University of Pennsylvania. Her interests include Italian cinema, women’s studies, cinema and religion, and twentieth-century Italian literature. Her presentations at numerous conferences have focused in particular on cinema and gender, the latest of which dealt with Greta Garbo’s performance in the filmic adaptation of Pirandello’s Come tu mi vuoi. Her article “Motherhood and Interrogation in Valeria Parrella’s Novel Lo spazio bianco (2008)” is forthcoming in the Italica. In 2010, she also published “Speaking Papers, Written Sounds: Female Voice and Oral Tradition in Maria Famà’s Looking for Cover,” in La Fusta. Ms. Consolati’s dissertation deals with the representation of women in postwar Italian cinema, in particular in the works of Rossellini, Fellini, Pasolini, and Cavani.

Luke Cuculis graduated from Gettysburg College with a degree in chemistry and mathematics. He is currently pursuing a doctoral degree in physical chemistry at the University of Illinois Urbana- Champaign where his research focuses on genomic editing and the understanding of interactions between single molecules of DNA- binding proteins and DNA. While at Gettysburg College he developed a secondary interest in gender studies, particularly in constructions of masculinity in film.

Daniela De Pau earned her PhD in Italian at the University of Illinois at Urbana-Champaign. She is an associate teaching professor at Drexel University, Philadelphia, where she lectures in contemporary Italian literature and film and coordinates the Italian program. Her main research interests are women writers and directors, the relationship between literature, cinema, and other arts, the documentary tradition and language pedagogy. She is the author of numerous articles on contemporary Italian literature and film. She also coedited the books Watching Pages Reading Pictures, Cinema and Modern Literature in Italy (Cambridge Scholar Publishing, UK, 2008) and Zoom D’oltreoceano. Istantanee sui registi italiani e sull’Italia (Vecchiarelli, Italy, 2009), and cowrote Il Divo. Film Study Program (Edizioni Farinelli, New York, 2011) and the CONTRIBUTORS 275 reader Moda, Stile e Simboli (Edizioni Farinelli, New York, 2012). She is currently working on a book about female autobiographies.

Laura Di Bianco is a PhD candidate at the Graduate Center (CUNY), in the department of Comparative Literature. After earning her degree at the University of “Roma Tre” in Film History, she worked for many years at the Centro Sperimentale di Cinematografia as an iconographic researcher and production coordinator for numerous film projects, including the documentary film series Ritratti Italiani—Archivio della Memoria and Mestieri del Cinema. Since 2007 she has been teaching at Queens College and Hunter College in the Romance Languages and Film and Media Studies Department classes on women filmmakers and contemporary Italian women writers in translation. She also teaches film at the New School Film and Food and Italian language at Fordham University. She is currently writing her dissertation on the representation of urban space and female subjectivity in the work of Italian women directors such as Marina Spada, Francesca Comencini, and others.

Cristina Gamberi gained a PhD in gender studies from the University of Naples, Italy, for her thesis The Work of Angela Carter, in the Light of Bildungsroman and Fairy Tales. Since September 2010, she has par- ticipated in GEMMA, the Erasmus Mundus Programme of Excellence leading to the European master’s degree in women’s and gender studies. She is currently based at the University of Hull, where she is writing her dissertation on Doris Lessing’s autobiographical texts. Her thesis investigates the ambiguous tension in Lessing’s texts, which question autobiography as a genre in relation to gender, oscillating between the great masculine tradition of Western autobiography and a feminist representation of the self as fragmented and multiple. She is the coeditor of “Educare al gendere. Riflessioni e strumenti per arti- colare la diversità” (Carocci editore, 2010. Reprinted in 2011) and the author of numerous articles on British contemporary women writers. Her research interests include contemporary women’s writing, gender studies, feminist theory, the relationship between gender and educa- tion, film studies, and studies on masculinities.

Lidia Hwa Soon Anchisi Hopkins earned her PhD from New York University. She is an associate professor of Italian at Gettysburg College, where she lectures on Italian language, literature, and film. Dr. Anchisi Hopkin’s scholarship is firmly grounded in feminist theory and examines ways of questioning traditional conceptualizations of gender and sexuality 276 CONTRIBUTORS in literature and film. She is the author of articles and presentations on subversive representations of femininity in Gabriele D’Annunzio, on les- bian desire and female sexuality in Italian erotic literature by women, and on French feminist theorists. She is currently working on two projects: an edited volume on race and ethnicity in Italy, and a study on transra- cial adoption in Italy. The connections between race, gender, ethnicity, nationality, and class amongst other things, that immigrants and tran- sracial adoptees embody offer critical tools for delegitimizing negative stereotypes of race and gender and deconstructing mechanisms that maintain racial/gender order and effect racial/gender oppression.

Claudia Karagoz is an assistant professor of Italian and affiliated faculty in the Women’s Studies Program at Saint Louis University. Her primary research and teaching interests are contemporary Italian literature, cinema and culture, gender studies, migration culture, and instructional technology. She has presented numerous papers on these subjects, and organized panels and round tables at national and international conferences. She has published articles on Italian women writers (“L’ottica inconscia del desiderio familiare in Cioccolata da Hanselmann di Rosetta Loy” in L’anello che non tiene. Journal of Modern Italian Literature and “Gazing Women: Elena Stancanelli’s Benzina” in Italica) and essays on Sicilian photographer and filmmaker Letizia Battaglia’s recent work (“Con occhi di donna: le nuove fotografie di Letizia Battaglia,” in Le sicil- iane (così sono se vi pare). Ed. Giovanna Summerfield. “Palermo Revisited: Letizia Battaglia’s Fine della storia” in Studies in European Cinema). Currently, she is also completing a manuscript on the representation of the mother-daughter bond in contemporary Italian feminist theory and women’s writing entitled Demeter’s Journeys: Mothers and Daughters in Contemporary Italian Women’s Writing.

Vera Golini She has been a professor of Italian studies at St. Jerome’s University since 1975, and since 1997 has also directed the Women’s studies program at the University of Waterloo. She is currently president of the Canadian Society for Italian Studies. She also translated Dacia Maraini’s short stories, My Husband, published in English language in 2004.

Dacia Maraini is a 2012 Italian Nobel Prize candidate for literature. She is an internationally recognized Italian writer and one of the most widely translated novelists in Italy and Europe. She is the author of novels, plays, poems, and collections of essays. She is also a journalist, a screenwriter, a director, and an activist. She made her literary debut with the novel La Vacanza published in 1962. Her second novel, L’Età del Malessere, won CONTRIBUTORS 277 the International Formentor Prize in 1963 and has been translated into 12 languages. She has subsequently published 11 more novels, collections of poetry and essays. Her other translated works include Memorie di una Ladra (1973), Donna in Guerra (1975), Lettere a Marina (1981), Il Treno per Helsinki (1984), Isolina (1985), and La Lunga Vita di Marianna Ucria (1990), which has been recently translated into Arabic. Her numerous plays have been performed worldwide. She has directed several documentaries, such as L’Amore Coniugale (1970), Aborto: Parlano le Donne (1976), Mio Padre, Amore Mio (1976), Giochi di Latte (1979), Lo Scialle Azzurro (1980), and Ritratti di Donne Africane (1986). Several films have been made of her books, and she has written screenplays for directors such as Pier Paolo Pasolini, Marco Ferreri, Carlo Di Palma, Margarethe Von Trotta, and Roberto Faenza.

Gaetana Marrone is professor of Italian at Princeton University. And she specializes in modern Italian literature and postwar Italian cinema. Her prin- cipal publications include articles on nineteenth- and twentieth-century literature, film, and cultural studies. She is the author of La drammatica di Ugo Betti: Tematiche e archetipi (1988); New Landscapes in Contemporary Italian Cinema (1999); The Gaze and the Labyrinth: The Cinema of Liliana Cavani (2000); Lo sguardo e il labirinto (2003; rev. and enlarged Italian edition); a critical edition of Ugo Betti, Delitto all’isola delle capre (2006); and is general editor of a two-volume Encyclopedia of Italian Literary Studies (2007).

Robin Pickering-Iazzi is professor of Italian and Comparative Literature at the University of Wisconsin-Milwaukee. She has published articles and books on twentieth- and twenty-first-entury Italian culture, most recently the edited volume Donne in Terza Pagina. Racconti, 1925–1942. In process is a book examining representations of mafia and antimafia figures in Italian literature, film, and theory.

Chiara Ricci is a writer and independent scholar. In 2003, she began working with the Italian American playwright Franco D’Alessandro. In 2006, she helped produce the documentary “Anna Magnani, ritratto d’attrice” for the fiftieth anniversary of the actress’s Academy Award. In 2008, she graduated in DAMS (Disciplines of Art, Music and Show) with a thesis entitled “The Theatre in Front of the Camera—Theatre’s Elements in the Cinema of Anna Magnani,” and has written a number of articles with Franco D’Alessandro for the “Tribute to Anna Magnani,” held at the “Winchester Italian Cultural Center” to celebrate Magnani’s hundredth birthday. Her book Anna Magnani Vissi d’Arte Vissi d’Amore, published by 278 CONTRIBUTORS

Edizioni Sabinae, won the Giuseppe Sciacca prize. In 2010 she gra duated in “Cinema, Television and Multimedia Production” with a thesis entitled “The Cinema in Half-light of Elvira Notari” at the University of Roma Tre, Italy. Currently, she writes about cinema and theater for websites and as a film critic, while continuing her research into Anna Magnani and the history of the cinema and theater.

Giovanna Summerfield received her PhD from the University of Florida. She has published and presented extensively on the French and Italian literature of the “long” eighteenth century (1660–1830; with an emphasis on Sicilian writers), religious and philosophical movements, and women’s studies. During her time at Auburn, she has received the CLA Engaged Scholar, 2009–2012, the Outstanding Scholarly Achievement in Women’s Studies, 2009–2010, and the PETL Early Teaching Career Award, Auburn University, in March 2007. She created the Taormina, Italy, Study Programs in 2005.

Anita Virga is associate lecuturer at the University of the Witwatersrand, Johannesburg, in South Africa. She received her BA and MA in com- munication studies from the University of Turin, Italy, and in 2010 she received her MA in Italian studies from the University of Connecticut. She is currently working on her PhD dissertation entitled Un mondo interpretato, reinventato e “fatto parlare”: rappresentazioni della Sicilia rurale 1860–1922, and she is coediting a book about suicide in the nineteenth century: Voglio morire! Suicide in Italian Literature, Culture, and Society 1789–1919. Her article on Rossellini’s Germany, Year Zero and the theme of suicide is forthcoming in Italica. Index

Note: Locators followed by ‘n’ refer to notes. 81/2, 35 Basilico, Gabriele, 131, 133–5, 237, 239–41, 243 Abraham, Fred Murray, 210 Basinger, Jeanine, 2 Ahmed, Sara, 149 Battiato, Franco, 174 Akhmatova, Anna, 123, 243 Baudelaire, 122, 136 Althusser, Louis, 64, 137 Bellassai, Sandro, 55–8, 69n9 Amelie, 216, 226n11 Bellumori, Cinzia, 3 Amore e violenza (Melandri), 97 Benini, Stefania, 212 Anchisi Hopkins, Lidia Hwa Soon, 6, Bertolucci, Giuseppe, 178 53–67, 273 Bettelheim, Bruno, 68n3 Antonioni, Michelangelo, 121, 131–2, Bhabha, Homi, 197 138–9, 241, 244 Bondanella, Peter, 2, 48n8 Aprà, Adriano, 152 “Border Traffic” (O’Healy), 137 Archibugi, Francesca Borrelli, Ilaria biography, 98 biography, 224–5 filmography, 100–101 Come le Formiche, 220–2 Il grande cocomero: family Domani si Gira, 5, 211 dynamics in, 92; healing and, films, 218–24 96–8; illness and, 93–6; plot, Il piu bel Giorno della mia Vita, 222 92–3 Luccatmi, 211 Mignon è partita, 92, 98 Mariti in Affitto, 218–20, 222 Verso Sera, 92 novels, 5, 210–12 Argento, Dario, 175 overview, 209 Arzner, Dorothy, 3 postfeminism, 212–18 Austin, J. L., 64–5 Scosse, 210 Austin-Smith, Brenda, 8 Talking to the Trees, 222–4 automediality, 181 Tanto Rumore per Tullia, 211–12 “autrici interrotte,” 129, 145n13 Bowlby, Rachel, 143 avventura ancora attuale, 76 Brabon, Benjamin, 213–14 Bridget Jones’ Diary, 214–16 Bahktin, Mikhail, 43 Brundson, Charlotte, 215–16 Baldry, Anna Costanza, 91 Bruno, Giuliana, 2, 4, 16–17, 19, 23–4 Balestrini, Nanni, 123, 243 Butler, Judith, 54, 56, 63–7, 69n8, 197, Barthes, Roland, 38, 139 199, 207n6 280 INDEX

Cannes Film Festival, 263 Consolati, Claudia, 6, 33–46, 274 Cannistraro, Philip, 69n11 Conte, Paolo, 174 Canova, Gianni, 175–6 Criminal Woman (Lombroso), 203 Cantini, Maristella, 1–8, 209–25, 273 Cuculis, Luke, 6, 53–67, 274 Carmosino, Christian, 264 Carrano, Patrizia, 4–5, 9n2, 10n7, de Certeau, Michel, 125 225n1, 273–4 de Lauretis, Teresa, 34, 37, 45, 48n7, Cattaneo, Menotti, 19 50n41, 150 Cavani, Liliana De Pau, Daniela, 89–99, 275 early films, 73–4 Derrida, Jacques, 64–5 filmography, 87–8 Di Bianco, Laura, 7, 121–44, 237–61, Francesco di Assisi, 73–7, 82, 84 275 Galileo, 77–8 Diaconescu-Blumenfeld, Rodica, 36, I cannibali, 78–9 40, 43 Le clarisse, 83–4 Diary of Sex and Politics, 164 L’ospite, 79–80 Discipline and Punish (Foucault), 203 Milarepa, 80–2 Doane, Mary Ann, 34, 44–5 operas, 88 Domani si Gira (Borrelli), 5, 209, 211 scholarship on, 1–2, 4, 6–7 drag, 54, 63, 65–6, 69n8, 207n6 secular view, 77 Dünne, Jörge, 181 Seventh Circle, 83 Thematic Imaginary, 73–85 Farinotti, Luisella, 159 themes in works of, 82–5 Fellini, Federico, 29n6, 35–6, 40 Cecchini, Fabiana, 173–87, 274 femicide, 90 Chick Flicks, 216–18, 222, 224, 226n11 Ferris, Suzanne, 216 Chinn, Sarah, 64 Festival of Bratislava, 263 Cicero, Nando, 3, 9n2 Festival of Cuenca, 263 Cicioni, Mirna, 178 Festival of Montreal, 225 cinèma vérité, 152, 232 Festival 3of Pusan, 26 cinepanettone, 3 Festival of Turin, 263 “citational grafting,” 64–5 Finocchiaro, Angela, 115n2 Color Purple, The, 216 flânerie, 122, 125–7, 136, 138, 143 Comencini, Francesca Forgacs, David, 122 biography, 115 Foucault, Michel, 76, 203, 207n8 filmography, 118–19 found footage, 150–1, 153–4, 166, 176, Lo spazio bianco: characters, 107–9; 178–9, 182, 186, 231–3 inclination in, 114–15; mothers Fraioli, Ilaria, 159, 161, 165, 167, 181, and, 104; plot, 104; portrayal of 183, 233 Naples, 108–11; staging spaces, Franchi, Paolo, 173 111–15; themes, 104–6, 110–11; Freud, Sigmund, 37–8 translation from book to film, Fried Green Tomatoes, 216 106–7; women’s bodies and, 104–5 SNOQ and, 103 Gamberi, Cristina, 7, 149–67, 178–9, Comenici, Luigi, 115 186, 231–5, 275–6 “concrete brotherhood,” 85 Garrone, Matteo, 173, 176, 257 Connell, R. W., 55 Gay, Piergiorgio, 173, 178 INDEX 281 gaze Kaplan, E. Ann, 2–3, 34, 42–3, 48n7 Cavani and, 85n5 Karagoz, Claudia, 7, 103–15, 276 Come l’ombra and, 129, 131, 137–8 documentaries and, 232, 234, “la meglio gioventù,” 173, 175–6 240–1, 244–5 La sconosciuta, 137 female, 138, 183, 252, 260, 268 Laviosa, Flavia, 91, 96 Kaplan on, 42 Ligabue, Luciano, 174 La Notte and, 131 Lincoln Center’s Italian Film Festival, 237 Lo spazio bianco and, 113–14 Lombroso, Cesare, 203 Love and Anarchy and, 34–7, 41, 44, 46 Lorcano Film Festival, 154 male, 34–7, 41–2, 44, 46, 155, 159, Luciano, Bernardette, 136, 265 201, 203 Lucini, Luca, 173 Marazzi and, 152, 155–6, 159, 169n7 oblique, 183 Maderna, Giovanni, 178 Pasqualino Settebellezze and, 55, 57 Maggioni, Daniele, 135, 238 Rohrwacher and, 249, 252 Maiorca, Donatella subjectivization of, 152 biography, 206 violence and, 201 Purple Sea: figure of Angelo/a, 195–9; “Gendering Mobility and Migration” importance of, 204–6; overview, (Scarparo and Luciano), 136 195–6; patriarchal society, 199–204 Genz, Stephanie, 3, 213–14 Viola di mare, 117n14 Ginsberg, Allen, 243 Mamma Roma, 135 Giordana, Marco Tullio, 173, 188n1 Marazzi, Alina Godard, Jean-Luc, 131, 137, 241, 254 critical nostalgia, 166–7 Golini, Vera, 276 cultural context of work, 152–3 Gough, Kathleen, 199, 207n5 “docu-diary” and, 178–9 Gutierrez, Chus, 226n16 early career, 178 feminist themes and, 150–2 History of Sexuality, The (Foucault), interview, 231–5; on archival 203, 207n8 material, 231–2; on early career, Hollinger, Karen, 217, 222 231; on female displacement, 233–4; on motherhood, 234–5; Infascelli, Alex, 173 on Un’ora sola ti vorrei, 232–3; on International Film Festival of Rome, Vogliamo anche le rose, 233–4 237 La meglio Gioventù and, 173–6 “Invisible Flâneuses: Women and literature and, 178 Literature of Modernity” (Wolff), overview, 150, 176–7 136 scholarship on, 7 Invisibles, The, 264 supplementary material released Irigaray, Luce, 34, 37, 41, 209 with DVDs, 174, 180–2 Italian Cinema from Neorealism to themes in work, 177–8 Present (Bondanella), 2 Un’ora sola ti vorrei: critical Italian National Television (RAI), 73, reception of, 154; form, 154–5; 161, 206, 235n1, 237–8, 263 fragmentation, 157–9; making of, 153–4; narrative structure, 155–7; Johnston, Claire, 3, 33–4, 38, 47n7 opening scene, 54; voiceover, 155–7 282 INDEX

Marazzi, Alina—Continued Parrella, Valeria, 104, 106–7, 109 Vogliamo anche le rose: Anita’s Partito Nazionale Fascista (PNF), 126, diary, 162–3; meaning of title, 245n1 159–60; opening sequence, 162; Pasolini, Pier Paolo, 77, 81, 137, 156, parody and, 161–2; politics in, 168n3 165–6; relation to previous work, patriarchy 160–1; Teresa’s diary, 163–4; Archiburgi and, 89–93, 97 Valentina’s diary, 164–5 Borelli and, 210, 217, 220, 223 Marcellino pane e vino, 115 Doane and, 44 Mariaini, Dacia, 276–7 guns and, 55–7 Mariaini, Umberto, 67n1 Irigaray and, 37 Marrone, Gaetana, 6, 73–85, 277 Italian cinema and, 5 Masini, Mario, 165 Kaplan and, 42–3 Massey, Doreen, 141 Maiorca and, 195–8, 3201, 20 Mastrandrea, Valerio, 255 Marazzi and, 161, 167, 185 Maude (cultural association), 1, 254, 258 Massey and, 141 Mazzacurati, Carlo, 137 Mulvey and, 36–7, 39–40 McCabe, Janet, 2 Notari and, 19 McIsaac, Paul, 33, 47n6 postfeminism and, 215 McRobbie, Angela, 2, 226n8 Spada and, 122 Melandri, Lea, 97, 181–2 Wertmüller and, 5, 39–40, 42–3, Menarini, Roy, 107–8, 117n15 45–6, 55–7, 59 Merini, Alda, 122–3, 144n1 Wilson and, 142 mimicry, 64, 66, 162, 197 women’s political countercinema Minchia di Re (Pilati), 195 and, 33 Monti, Adriana, 165 performativity, 54, 56, 63–5, 67, 69n8 Mulvey, Laura, 2–3, 34, 36–8, 47n7, Piccioni, Giuseppe, 178, 184 48n17, 149, 159 Pickering-Iazzi, Robin, 277 Mussolini, Benito, 22–3, 30n25, 34, Pietrangeli, Antonio, 241 38–9, 45, 54, 56, 58, 66–7, 69n11 Pilati, Giacomo, 195, 204 postfeminism Negra, Diane, 214 Borrelli and, 212–18, 220 Newport International Film Festival, 154 Chick Flicks and, 222, 224 Nobile, Robert, 271–2 explained, 225n3 Notari, Elvira film criticism and, 3 background, 29 Pozzi, Antonia, 123, 125–8, 237, 239– Dora Film, 19, 22–3 40, 243, 245 Dora Film of America, 23–4 Practice of Everyday Life, The (de film production, 19–21 Certeau), 125 Gennariello Film, 21–2 lack of scholarship on, 2 Quatriglio, Costanza, 7, 251, 263–72 overview, 6, 18 écosaimale, 267 themes in works of, 24–9 interview: on documentaries, 264–5; on future, 272; on O’Healy, Aine, 4, 117n20, 137 Invisibles, 264; on L’isola, Ortese, Anna Maria, 247, 250 266–70; on Robert Nobile, 271–2; INDEX 283

on Terramata, 270–1; on themes Se non ora quando (SNOQ), 103, in work, 265–6; on women’s 115n2 portrayal in film, 267–8 Sex and the City, 215–17 Io, qui. Lo sguardo delle donne, 267–8 Simmel, Georg, 16 overview, 263–4 Sorrentino, Paolo, 173, 259 Space, Place, and Gender (Massey), 141 Radner, Hilary, 2, 8, 218, 225n3 Spada, Marina Randi, Paola Come l’ombra, 127–44 impact on filmmaking, 7, 121 death in films of, 124 interview with, 253–61; on Deserto Rosso, 122 documentaries, 255; on early entrapment and, 136 career, 254–5; on female gaze, Forza Cani, 123–6 260; on Into Paradise, 255–7; on gaze and, 138–9 Maude, 258–60; on Milan, 257–8; Il mio domani, 127–44 on representation, 256 interview, 237–45; on Basilico, Into Paradise, 253, 255–6 240–1; on Come l’ombra, 240–2, Rohrwacher and, 248 244; on early career, 238; on study of women’s films, 251 Forza cani, 238–9; on gaze, 245; Reggio Calabria, 121, 247–9, 252 on Il mio domani, 241, 244–5; on Reggio, Godfrey, 178 influences, 241–3; on landscapes, Rhys, Jean, 149 242–3; on Pozzi, 239–40 Ricci, Chiara, 2, 15–29, 277 “La mia città,” 122, 144 Rich, Adrienne, 151, 164, 199–202, landscape in works of, 131–6 207n4–5 L’Avventura, 122 Rich, B. Ruby, 216 L’eclisse, 122 Riches, Pierre, 84 Milan and, 124–5, 138–9 Righelli, Gennaro, 19 mothers in work, 141–2 Ring-Independent Filmmakers of the overview, 121–2 New Generation, 173 Poesia che mi guardi, 126–30 Rohrwacher, Alice, 7, 121, 247–52, 261 poetry and, 123 interview: on church, 249–50; on prostitution in works, 136–7 Corpo Celeste, 248–50; on early treatment of place, 122 career, 248; on gaze, 249, 252; violence and, 137–8 on Reggio Calabria, 249, 252; on walking and, 143 women directors, 251 Sphinx in the City, The (Wilson), 142 overview, 247–8 Stampa, Gaspara, 1 Roma, 36 Summerfield, Giovanna, 263–72, 278 Romito, Patrizia, 90, 93–4, 97 Sundance Film Festival, 247 Rossellini, Roberto, 74 Swept Away, 33 Rothko, Mark, 131 ruralism, 56 Tasker, Yvonne, 2, 214 Russell, Diana, 90, 93 Terragni, Laura, 89, 91 Russell, Ken, 73 Tola, Vittoria, 97 Torino Film Festival, 154 Scarparo, Susanna, 136, 178, 265 Tornatore, Giuseppe, 137 Scosse (Borelli), 209–10 “transparence-absence,” 5 284 INDEX

Un ragazzo di Calabria, 115 45–6; themes, 34–5; voyeurism and, 37–8 Valentini, Chiara, 5, 212, 224 Pasqualino Settebelleze: fascism Vanzina, Carlo, 3 and, 56–7; gender and, 63–6; Venice Film Festival, 115, 130, 237, grotesque in, 67; gun in, 55, 240, 253, 263–4 60–3; linguistic signs in, 65; Vesna va veloce, 137 masculinity and, 54–67; plot, 54; Vesuvio Film, 18–19 themes, 53–4; women and, 56–7 Virga, Anita, 195–206, 278 scholarship on, 1–2, 4, 6 “Visual Pleasure and Narrative When We Dead Awaken (RIch), 164 Cinema” (Mulvey), 3, 47n7 Wilson, Elizabeth, 142 Wolff, Janet, 136 Wertmüller, Lina Woolf, Virginia, 251 Love and Anarchy: brothel in, 37–43; cinematography, Young, Mallory, 216 35–6; family and, 42; female characters, 38–40, 43–4; Zagarrio, Vito, 173–6, 188n3 fetishism and, 38–9; grotesque Zajczyk, Francesca, 212 in, 40–1, 44; masculinity and, Zamboni, Chiara, 178 35–7; plot, 33–4; reflections and, Zeffirelli, Franco, 74