A Companion to Italian Cinema Wiley Blackwell Companions to National Cinemas (CNCZ/2971) The Wiley Blackwell Companions to National Cinemas showcase the rich film heritages of various countries across the globe. Each volume sets the agenda for what is now known as world cinema while challenging Hollywood’s lock on the popular and scholarly imagination. Whether exploring Spanish, German, or Chinese film, or the broader traditions of Eastern Europe, Scandinavia, Australia, and Latin America, the 20–30 newly commissioned chapters comprising each volume include coverage of the dominant themes of canonical, controversial, and contemporary films; stars, directors, and writers; key influences; reception; and historiography and scholarship. Written in a sophisticated and authoritative style by leading experts, they will appeal to an international audience of scholars, students, and general readers. Published: A Companion to German Cinema, edited by Terri Ginsberg & Andrea Mensch A Companion to Chinese Cinema, edited by Yingjin Zhang A Companion to East European Cinemas, edited by Anikó Imre A Companion to Spanish Cinema, edited by Jo Labanyi & Tatjana Pavlović A Companion to Contemporary French Cinema, edited by Raphaëlle Moine, Hilary Radner, Alistair Fox & Michel Marie A Companion to Hong Kong Cinema, edited by Esther M. K. Cheung, Gina Marchetti, and Esther C.M. Yau A Companion to Latin American Cinema, edited by Stephen M. Hart, Maria Delgado, and Randal Johnson A Companion to Italian Cinema, edited by Frank Burke A Companion to Italian Cinema Edited by Frank Burke This edition first published 2017 © 2017 John Wiley & Sons, Inc. 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Identifiers: LCCN 2016037504 (print) | LCCN 2016056129 (ebook) | ISBN 9781444332285 (cloth) | ISBN 9781119043997 (epdf ) | ISBN 9781119006176 (epub) Subjects: LCSH: Motion pictures–Italy–History and criticism. Classification: LCC PN1993.5.I88 C595 2017 (print) | LCC PN1993.5.I88 (ebook) | DDC 791.430945–dc23 LC record available at https://lccn.loc.gov/2016037504 A catalogue record for this book is available from the British Library. Cover Image: © MarsBars/Gettyimages Cover Design: Wiley Set in 10.5/12.5pt Dante by SPi Global, Pondicherry, India Printed in the United States of America 10 9 8 7 6 5 4 3 2 1 In Memoriam, Peter Brunette, 1943–2010 To Tyler, Wylie, and Gabe Contents Acknowledgments xi Notes on Contributors xii Editor’s Notes xix Glossary xx Preface and In Memoriam xxiv Part I First Things 1 1 Introduction 3 Frank Burke 2 Italian Cinema Studies: A Conversation with Peter Bondanella 16 Frank Burke Part II Historical/Chronological Perspectives 29 Silent Cinema 29 3 Silent Italian Cinema: A New Medium for Old Geographies 31 Giorgio Bertellini 4 Stardom in Italian Silent Cinema 48 Jacqueline Reich Fascism and Italian Cinema 65 5 Genre, Politics, and the Fascist Subject in the Cinema of Italy (1922–1945) 66 Marcia Landy The Italian Film Industry 83 6 Staying Alive: The Italian Film Industry from the Postwar to Today 84 Barbara Corsi viii Contents Cinema and Religion 103 7 Italian Cinema and Catholicism: From Vigilanti cura to Vatican II and Beyond 104 Marco Vanelli Neorealism 121 8 The Italian Neorealist Experience: The Orphan Child and New Ways of Looking at the World 122 Lorenzo Borgotallo 9 Italian Neorealism: Quotidian Storytelling and Transnational Horizons 139 Laura E. Ruberto and Kristi M. Wilson Stardom and the 1950s 157 10 Italian Female Stars and Their Fans in the 1950s and 1960s 158 Réka Buckley Film Comedy—the 1950s and Beyond 179 11 The Popularity of Italian Film Comedy 180 Louis Bayman 12 The Question of Italian National Character and the Limits of Commedia all’italiana: Alberto Sordi, Federico Fellini, and Carlo Lizzani 198 Stephen Gundle French‐Italian Film Collaborations into the 1960s 215 13 Cross‐Fertilization between France and Italy from Neorealism through the 1960s 216 Adriano Aprà Auteur Cinema (1960s and 1970s) 227 14 Italian 1960s Auteur Cinema (and beyond): Classic, Modern, Postmodern 228 Veronica Pravadelli Popular Film Genres (1950s to 1970s) 249 15 Italian Popular Film Genres 250 Austin Fisher Politics and/of Terrorism (1960s to the Present) 267 16 The Representation of Terrorism in Italian Cinema 268 Christian Uva Contents ix Italian Cinema from the 1970s to the Present 283 17 From Cinecittà to the Small Screen: Italian Cinema After the Mid‐1970s Crisis 284 Tiziana Ferrero‐Regis 18 Contemporary Italian Film in the New Media World 303 Mary P. Wood Part III Alternative Film Forms 323 19 Thinking Cinema: The Essay Film Tradition in Italy 325 Laura Rascaroli 20 Italian Experimental Cinema: Art, Politics, Poetry 340 Sandra Lischi 21 Notes on the History of Italian Nonfiction Film 361 Luca Caminati and Mauro Sassi Part IV Critical, Aesthetic, and Theoretical Issues 375 22 A Century of Music in Italian Cinema 377 Emanuele D’Onofrio 23 The Practice of Dubbing and the Evolution of the Soundtrack in Italian Cinema: A Schizophonic Take 393 Antonella Sisto 24 Watching Italians Turn Around: Gender, Looking, and Roman/Cinematic Modernity 408 John David Rhodes 25 Women in Italian Cinema: From the Age of Silent Cinema to the Third Millennium 427 Bernadette Luciano and Susanna Scarparo 26 Imagining the Mezzogiorno: Old and New Paradigms 447 Fulvio Orsitto 27 The Queerness of Italian Cinema 467 Derek Duncan 28 An Accented Gaze: Italy’s Transmigrant Filmmakers 484 Áine O’Healy 29 How to Tell Time: Deleuze and Italian Cinema 500 Angelo Restivo 30 The Screen in the Mirror: Thematic and Textual Reflexivity in Italian Cinema 512 Stefania Parigi x Contents 31 Deterritorialized Spaces and Queer Clocks: Intertextuality in Italian Cinema 531 Marguerite Waller Part V Last Things 551 32 Forum: The Present State and Likely Prospects of Italian Cinema and Cinema Studies 553 Flavia Brizio‐Skov, Flavia Laviosa, Millicent Marcus, Alan O’Leary, Massimo Riva, Pasquale Verdicchio, and Christopher Wagstaff Index 572 Acknowledgments First of all, I must thank the contributors who have been there from the start for their patience with the preparation of this volume which, beginning with Peter Brunette’s death, encountered a series of obstacles and delays. And for those who joined along the way, many thanks for your willingness to participate. Emilia Griffin provided excellent translations for the Italian‐language essays, and Zipporah Weisberg offered timely and enthusiastic copyediting support. Since virtually all the contributors offered invaluable advice regarding potential new contributors and/or priceless input on contemporary issues in Italian cinema studies, I refer the reader to the “Notes on Contributors” for my thanks on these matters! However, I will single out those who were called upon and responded well above the norm: Marguerite Waller, Millicent Marcus, Louis Bayman, Chris Wagstaff, Alan O’Leary, Tiziana Ferrero‐Regis, Áine O’Healy, Stefania Parigi, Barbara Corsi, and Peter Bondanella. Catherine O’Rawe, though unfortunately not a contributor, always heeded pleas for help. Jayne Fargnoli has been the kind of editor about whom one can only dream: support- ive, kind, positive, and present in a thoroughly enabling way. My project editor for most of this journey, Julia Kirk, offered an uncannily constructive combination of accountabil- ity and encouragement. Denisha Sahadevan has kept on top of the manuscript logistics that remained when she replaced Julia. I owe special thanks to my Lucchesi friends. Romano Giammattei gave me the gifts of the Italian language and his friendship. He, along with Fellini, has been a foundational figure in my Italian experience. Marco Vanelli, whom I first met so appropriately in a Lucca video store, has been not only a great friend but also a huge professional support and resource.