Schermi. Storie e culture del cinema e dei media in Italia

Gli accordi ANICA-MPEA e l'impiego dei capitali americani nel nostro cinema / PARTE 1 – I primi due accordi e la promozione del cinema italiano all'estero

Federico Di Chio — Sat, 31 Dec 2022 00:00:00 +0000

From 1946 to 1962, the producers’ share of the rentals of US films in Italy was blocked in Italy. The specific use-cases of these funds – both in the film industry and in other sectors – were codified in a series of agreements which involved both governments. For the first
time, all six understandings between the trade organizations ANICA and MPAA/MPEA are studied in detail. Based on archival research, the article reconstructs their development and implementation. The agreements, which regulated Italian-American film relations from
1951 until 1962, promoted joint productions and supported the distribution of Italian films by US Studios.

Introduzione. Alla ricerca dei pubblici della diaspora italiana

Morena La Barba, Mattia Lento — Sat, 31 Dec 2022 00:00:00 +0000

Un cinema «fuoruscito». Esuli italiani in Francia e ricezione del Neorealismo (1945-1950)

Enrico Gheller — Sat, 31 Dec 2022 00:00:00 +0000

According to an established historiography, post World War II Italian cinema owes much of its international success to the French intellectual milieu. In this process of reception, the work carried out by exiled Italian intellectuals, who were responsible for promoting neo-realism on the other side of the Alps for diplomatic purposes but without neglecting questions of an aesthetic nature, deserves attention. By relating certain aspects of the socio- historical context with the analysis of some critical texts, this article aims to reconstruct some trajectories of reception of neorealist cinema in the Italian-French press between 1945 and 1950.

«Putting Italy back on the map». Diasporic Cinema Audiences in Post-war Sydney

Adrienne Tuart — Sat, 31 Dec 2022 00:00:00 +0000

In April 1961, the Sydney screening of Federico Fellini’s latest film La dolce vita (1960) broke all box office records, and the associated scandals attracted the attention of Sydney cinemagoers and the migrant and local press. Over two hundred thousand Italians had migrated to Australia by this time, creating a local demand for Italian film in theatres and within social and religious groups. This article examines the central role that film plays within the social and cultural lives of Italian migrant audiences and draws on a series of oral history interviews supplemented with film reviews from Italian and local newspapers and cinema industry journals. Cinema played an important role, not only in cultivating and maintaining cultural and national identity, but in establishing a new sense of italianità in 1960s Sydney.

«Sophia is there. She is going to help you»

Sabine Schrader, Antonio Salmeri — Sat, 31 Dec 2022 00:00:00 +0000

«What would Sophia Loren do?» is a question that Nancy Kulik, daughter of Italian immigrants, asked herself many times in her life. Even at a young age, Loren has served her not only as a compass for important choices, but also to create an emotional connection with her Italian heritage. Through its personal approach, the documentary «What would Sophia Loren do?» makes us understand how Kulik is thus representative of a nostalgic migrant’s view of the Italian-American diaspora. This short cinematic homage gives the opportunity to reflect on Sophia Loren’s cult of the star from the perspective of the “transatlantic-gaze” (Carolan McDonald, 2014), gender and time-image (Deleuze, 1991), and not least, “italianità” and “americanità” against the backdrop of the Italian-American migration experience.

I pubblici cinematografici dell'emigrazione italiana nel mondo

Sat, 31 Dec 2022 00:00:00 +0000