by Stephanie Hotz
This essay examines Rita Pavone’s star image and musical films of the 1960s, including a close analysis of two of her most famous musicarelli, Rita la zanzara (Rita the Mosquito, 1966) and its sequel Non stuzzicate la zanzara (Don’t Sting the Mosquito, 1967). While studies on the postwar “woman’s film” have focused primarily on melodramas,
by Anne-Riita Ciccone
The filmmaker explains her interest in adolescence and discusses the topic and genesis of the
short Victims. She provides details on her feature I’M and on its young leading actress.
Click to watch the trailer.
The short Victims is available online on the Rai.it website. In Italian. Web. Accessed 27 July 2017.
by Laura Samani
In this essay, Laura Samani addresses the rich symbolism of the theme of adolescence as it appears in her short film La santa che dorme. She describes adolescence as an internal war waged between the desire to grow up and the fear of leaving behind the securities of childhood. Samani analyzes her own adolescent experiences under the watchful eyes of the Church and adults, and the double natured friendship/rivalries as they resonate in the short film.
Blue-Haired-Girl Mnemonic: Italian Sci-Fi Nirvana
by Roberta Tabanelli
This article analyzes the science fiction Italian film Nirvana (1997) directed by Oscar-winning Gabriele Salvatores. Specifically, Tabanelli proposes a gendered reading of the film focused on the character of Naima, a female hacker with blue hair and an implant in her forehead. The author claims that Nirvana’s closing scene, and in particular the last photogram, by re-configuring the characters’ roles in the story,
The Performance of (Dis)orientation; a queer reading of Pietro Marcello’s La bocca del lupo (2009)
by Oliver Brett
In this article, Oliver Brett focuses on the role of the “object” in Pietro Marcello’s docufiction film La bocca del lupo (2009). In a context where “difference” can be perceived as problematic particularly if shaped through a politics of “identity”— his analysis draws on a phenomenological framework in seeking to elucidate the “queer” features of this award winning film.
Matteo Garrone’s Gomorra: A Politically Incorrect Use of Neapolitan Identities and Queer Masculinities?
by Marcello Messina
Taking as a starting point John Champagne’s recent argument about the queer representations of Italian masculinity contained in Garrone’s Gomorra, this paper aims to connect the queer masculinity of the film’s characters with the negative judgement on their lives and actions suggested by the film. In particular, it will be argued that queerness is used alongside the Neapolitan-ness of the characters to portray them as Others,
Book Review: Cinema, Gender, and Everyday Spaces: Comedy, Italian Style by Natalie Fullwood
By Paola D’Amora
Film Review: Più buio di mezzanotte (Darkest Midnight) Directed by Sebastiano Riso
by Stefania Rimini
Book Review: Stars and Masculinities in Contemporary Italian Cinema by Catherine O’Rawe
by Elena Dalla Torre
Il doppio fantastico e la decostruzione del femminino in La doppia ora
di Andrea Bini
L’articolo esplora il tema dell’inconscio e del fantastico nel film di Giuseppe Capotondi, La doppia ora (2009) allo scopo di riflettere sulla corrispondenza tra mascolinità, femminilità e forme narrative. In particolare, si mostra come il personaggio maschile, ossessionato da una mania di controllo della realtà, proietti la propria ansia di castrazione sulla femme fatale,