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,
Book Review: Encounters with the Real in Contemporary Italian Literature and Cinema by Loredana Di Martino and Pasquale Verdicchio (editors)
By Melina Masterson
Book Review: The Maciste Films of Italian Silent Cinema by Jacqueline Reich
By Antonio Iannotta
Book Review: Italian Political Cinema: Public Life, Imaginary, and Identity in Contemporary Italian Film by Giancarlo Lombardi and Christian Uva (editors)
By Alberto Luca Zuliani
Book Review: Italy’s Other Women: Gender and Prostitution in Italian Cinema, 1940–1965 by Danielle Hipkins
By Gloria Pastorino
Book Review: Italian Style: Fashion & Film from Early Cinema to the Digital Age by Eugenia Paulicelli
By Rebecca Bauman
by Lisa Dolasinski
This article examines the precarious masculinity performed by Nader Sarhan, the male migrant protagonist featured in Claudio Giovannesi’s Alì ha gli occhi azzurri (2012). The theoretical framework draws on scholarship from postcolonial studies, film theory, queer theory, and gender studies. In particular, following recent work on representations of non-national male migrant film protagonists as “queer” and thus inassimilable to the national Italian body, the author contends that Nader’s desire for “white,” hegemonic masculinity (sexual and civic) ultimately results in his own undoing.
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,