Tag: italian cinema

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13. Precarious Masculinity: Intersections of Race, Gender, and Desire in Claudio Giovannesi’s Alì ha gli occhi azzurri

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.

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3. Blue-Haired-Girl Mnemonic: Italian Sci-Fi Nirvana

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,

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4. The Performance of (Dis)orientation; a queer reading of Pietro Marcello’s La bocca del lupo (2009)

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.

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16. Matteo Garrone’s Gomorra: A Politically Incorrect Use of Neapolitan Identities and Queer Masculinities?

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,

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Il doppio fantastico in La doppia ora

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,

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Ricezione di Vincere

Virilità fascista e mascolinità berlusconiana nella ricezione di Vincere

di Valerio Coladonato

La ricezione del film Vincere (Marco Bellocchio, 2009) fornisce un utile banco di prova per osservare il modo in cui le figure di Silvio Berlusconi e Benito Mussolini sono state affiancate nel discorso pubblico in Italia. L’accoglienza critica e le reazioni della stampa al film mostrano come una certa concezione della mascolinità abbia contribuito a forgiare la connessione tra i due uomini politici.

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