Staging (E)motions: The Importance of Elvira Notari’s ‘city films’ for Twentieth-Century Immigrant  and Female Audiences

Eva  Pelayo Sañudo

doi:10.54103/2035-7680/17900

Autori

Eva Pelayo Sañudo University of Cantabria https://orcid.org/0000-0003-2786-5437

DOI:

https://doi.org/10.54103/2035-7680/17900

Parole chiave:

Elvira Notari; city films; (e)motions; cultural immigration; gender representation

Abstract

This article explores the significant social changes registered by woman film director Elvira Notari in her city films, particularly regarding the position of women and Italian immigrant audiences in the US. It thus suggests new readings of Notari’s work through the concepts of urban capabilities and the flâneuse. As most of her original dense archive has been almost lost, only the extant feature film È Piccerella as well as secondary material and scholarship retrieving her work will be used to analyze the contributions of the director to cultural immigration, gender representation and film history.

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Biografia autore

Eva Pelayo Sañudo, University of Cantabria

Eva Pelayo Sañudo has a PhD in Gender and Diversity from the University of Oviedo, Spain. Her fields of research are Italian American literature, gender, diaspora, and urban and postcolonial studies. She completed her PhD in July 2017, with a thesis entitled Genre, Gender and Space: Family Sagas and Streets in the Italian/American Experience, for which she received the 2017 Prize of the Italian American Studies Association: the ‘IASA Memorial Fellowship Distinction of Outstanding PhD Dissertation.’ She has conducted research at the John D. Calandra Italian American Institute (Queens College, NY), the University of Calabria (Italy) and Stony Brook University (NY), and participated in international conferences in the USA, Italy and Slovakia.

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Staging (E)motions: The Importance of Elvira Notari’s ‘city films’ for Twentieth-Century Immigrant and Female Audiences

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