International Reception of Italian Cinema PDF

International Reception of Italian Cinema Readings 1. DOM HOLDWAY - MASSIMO SCAGLIONI: From Distribution to circulation studies mapping Italian Films Abroad 1. The Issue of ‚Italian Cinema‘ and o...

International Reception of Italian Cinema Readings 1. DOM HOLDWAY - MASSIMO SCAGLIONI: From Distribution to circulation studies mapping Italian Films Abroad 1. The Issue of ‚Italian Cinema‘ and of its distribution and circulation - Italys relationship with international market has varied in di erent historical periods - Moments of high visibility: early 1910’s, Neorealism, auteurs and genre lm in the 60’s and 70’s - Recession and Stagnation: 1920s, 80s and 90s - Andrew Higson: Concept of national cinema has various connotations - The notion of Italian Cinema is de ned by a variety of factors: economic/institutional (the domestic lm industry), aesthetic or textual, consumption, value system of critics and international festivals or prizes - Transformation of the distribution dynamics -> recently revised legislation (14.11.2016, n. 220, "Cinema Law“) provides nancial support from the state and support to to Luce Cinecittà - IT Databases to help understand international circulation dynamics: Cinetel, data from Lumiere, database of lm admissions managed by European Audiovisual Observatory - This essay intersects 3 consolidated disciplines; Cinema and media economics: production, distribution/circulation, from a historical perspective the push for exportations in the 60s - Age of digitalization -> „media convergence“ -> „Distribution Revolution“ - The birth of the new digital media and the „remediation“ of the traditional ones transformed and „relocated“ cinema - => Strengthen connections between cinema and TV industry, progressive growth of exhibitions spaces and visibility of lms (festivals), „literary“ (home video) - Historical approach: Impact from an aesthetic perspective 2. Studying the international circulation of IT Cinema: Where to begin - „Distribution Revolution“ - Movie theater still provide a fundamental point of departure-> „Windowing system“ - „Primary Window“: Central distribution model, means consumption, followed by di erent „secondary windows“ - Concept of „circulation“ : movement of content in space and time; accounting as much for formal and industrial distribution networks and its ‚windows‘… - Research of circulation: 1. Centralized, quanti able trajectories (using databases), 2. Structure and complexity of int. Circ. Patterns, 3. Adopting a multifocal and multidisciplinary perspective: lm economics, forms of post-theatrical distributions… - Italian box o ce success constitutes: 1. Of comedies (Italian-speaking communities), 2. Award winning lms - European cinema has 5 possible routes, 3 for IT: 1. Films that have transitional appeal; niche, art-house, 2. Resilience of production that appeal on national level; comedies, 3. International or co-productions (example CMBYN) 3. The Italian Anomaly -Italy distributes the fourth highest number of lms (833) in the EU -Italian lms have a signi cantly lower total and average audiences, almost lower then all the other 10 countries -despite high circulation, it lain cinemas audiences impact is lower than most fi fi fi fi fi ffi fi fi fi fi fi fi ff fi ff  other countries - IT represents the general eu trend of a high circulation/low impact - Only after 2012 circulation of IT cinema improved - IT case signals a kind of economic anomaly: does not follow to any fundamental market trends: if Italy distributes a higher number of lms, there is no guarantee at all that this will produce a total higher audience - => Anomalous position of IT cinema when distributed in theaters - => Though data regarding ticket sales signals a low-impact, IT C. Has continued to occupy a relatively high position among the top distributers - => Increased number of lms ≠ grater total number of ticket sales 4. Italian Cinema’s Market - The markets where IT cinemas is predominantly distributed are sw predictable, includes Switzerland - Relative insigni cance of ITC in all European market (fewer then 5%) - Low level of di usion, ITC does make up at least 5% of the non-national EU lms distributed - Most interesting: the di erences between the number of lms distributed in speci c countries and the sizes of the audiences that these lms reach - 2 useful insights: 1. Lack of correlation between the number of f. Distributed and total audience size recurs at the level of individual markets - Ex. Poland, high audiences: because co-productions (2 Italo-Polish-American, 1 IT-PO- Canadian) -> success of ITC depends on external factors distribute theatrically TV products, cultural and religious speci es of the market, co-production support - Ex. French IT success: not de ned by cultural speci city but by a small, steady interest in IT auteur cinema - Comparison: SP market: stable market here too, but less auteur also pop lms 5. Looking Transnationally - Theatrical distribution accentuates certain idiosyncrasies that relate to the geographic-cultural destination of the product - Reasons for lm circulate and success/failure are closely connected to these speci es and academic reasrch must adapt to various „images“ of national or IT cinema - Success relies on the media, especially tv - Potential enabled by cultural collaborations, transnational (higgson) 2. GIORGIO BETELLINI: Silent Italian Cinema, An International Story - Even before beginning of domestic production of ction lms (1905), foreign elements were a ecting Italian lm culture through the manufacturing and distribution in Italy of lms about Italy. - a ected the development of key genres (i.e. historical epics, literary adaptations, comedies, actuality lms and southern melodramas),popular themes (antiquity, the Renaissance, natural disasters, crime), lm-making and distribution formats (i.e. serials), casting practices of performers and technicians (i.e. comedian André Deed and cinematographer/operator Segundo de Chomòn) and even avant-garde poetics and experimentations. - At the core of how foreign factors variously a ected Italian cinema's international character and address was the idea of Italy as an exotic place that entertained a distinct cultural and even anthropological relationship with history. - „Voyage to Italy“: wo preferred aesthetic modes - antiquity and the picturesque. - provided the impetus behind Italian silent cinema's golden age between 1908 and 1914 Beginnings - Between 1896 and 1905, the vast majority of lms produced and exhibited in Italy were of foreign origin - mostly French, American and British. ff ff fi fi ff fi fi fi ff fi fi fi fi fi ff fi fi fi fi fi fi fi fi fi fi  - Grand Tour - For Italians, foreign lms' focus on famous landscapes, monuments and individuals fostered dynamics of national self-exploration and display - Before 1905, early Italian cinematographers, whether a liated with major foreign rms, particularly Lumière, or working independently as photographers, duplicated this fashionable taste for national history and geography. - By lming renowned urban locations and actual events of momentous and solemn signi cance, including state funerals and ceremonies, army parades and religious celebrations. Production - Italy's rst lm factories were located in the nation's political and industrial centres - Rome, Turin and Milan - Then they built new, large studios, attracted foreign artistic and technical personnel, particularly from the giant Pathé Frères, and opened distribution o ces abroad; domestic market and even more so internationally, mainly with comedies. - Distinct national recognition came with historical epics - often adapted from international bestselling novels - Large-scale historical epics gave aesthetic and marketing self-awareness to Italian lm companies. In 1908, Turin's Ambrosio Film released Gli ultimi giorni di Pompei (The Last Days of Pompei, 1908) - La caduta di - Troia (The Fal of Troy, 1911), directed by the visionary Giovanni Pastrone - Italyl’s most modern and well-equipped lm studio, Milano Fi s, poured its resources into La divina commedia: Inferno, also known as L'Inferno (Dante's Inferno, 1911). The rst Italian lm to be deposited for copyright, L'Inferno made Dante intelligible to the world's masses in fty- four scenes. - Finally, Pastrone engaged the renowned writer and poet Gabriele D'Annunzio for the erudite intertitles of the gargantuan twelve-reeler Cabiria (1914), - By then the genre, having failed to renew its narrative and visual appeal, found distribution mainly among America's Little Italies. Italian immigrants had learned to appreciate historical and literary epics, although typically after their exhibition in cheaper neighbourhood theatres. - from the late 1910s -> Neapolitan melodramas. - Naples' productions had learned to tell stories rooted in the city's culture of vernacular pochades, songs and stage melodramas. - Comedies: In 1908, Itala Film's artistic director Giovanni Pastrone lured Pathé star André Deed, famous as Boireau, and renamed him Cretinetti. - Italian producers duplicated French and American practices and applied them to crime narratives, - Only with the peplum epics set in classical antiquity during the 1950s and 1960s did Italian cinema embrace the nation's ancient past successfully and with conviction. - The forzuti were not the only transnational stars ofItalian cinema. Indebted to the stage and lm phenomenon of international female stardom (of Sarah Bernhardt, Eleonora Duse and Asta Nielsen), the diva lms of Lyda Borelli, Pina Menichelli and Francesca Bertini all showcased a distinctly Italian style. - The Italian avant-garde could have acquired comparable continental signi cance. Despite the proximity ot European artists and critical debates, the Italian landscape of experimental cinema remained dotted with countless projects, productive theorisations, but al too few nished, and for decades invisible, works. in contrast to the much more important impact French and German avant-garde lms had in their respective countries and elsewhere. - One eld where Italian lm-making distinguished itself was that of non- ction, particularly in the area of education and journalism. Between the Great War and the March on Rome by Mussolini's fascists in 1922, the government had shown little interest in motion pictures in general, and even less in documentary lm- making, limiting its role to censorship and control of war coverage. After the mid-1920s, the fascist regime embraced non- ction lm-making as a unique propaganda tool to promote the positive e ect of the regime's policies to domestic and international - LUCE, newsreels, international educational cinematographic institute (IECI) fi fi fi fi fi fi fi fi fi fi ff ffi ffi fi fi fi fi fi fi fi fi fi fi fi fi  - Even more pervasive was the Italian response to American popular culture, particularly to the American shows and showmen associated with turn-of-the-century world's fairs in Chicago and Paris and amusement parks such as the famous one in Coney Island - silent Italian cinema emerged within a visual culture embedded with foreign contributors and expectations. Their presence a ected how the national lm production positioned itself within domestic and international markets at the level of genre, stardom, characterisations and style. - quoted other cultural traditions, mainly French and Anglo-American. 3. Sergio Rigoletto: Laughter and the popular in Lina Wertmüller’s The Seduction of Mimi Lina Wertmüller wurde von den Kritikern fast einstimmig als eine der Enfants terribles des italienischen Kinos der 1960er Jahre begrüßt, als ihr erster Spiel lm, "Die Basilisken" (1963), in Italien verö entlicht wurde. Im selben Jahr arbeitete Wertmüller als Regieassistentin für Federico Fellini an "8½" (1963). Nach "Die Basilisken" arbeitete Wertmüller für das italienische Staatsfernsehen RAI und führte Regie bei der ersten Ausgabe der Show "Canzonissima" sowie beim ersten Musikkomödie, die jemals im italienischen Fernsehen ausgestrahlt wurde, "Il giornalino di Gianburrasca" (1964–65). In den 1970er Jahren kehrte Wertmüller in den Fokus der Filmkritiker zurück und erzielte mit "Die Verführung des Mimì" (1972) ihren ersten großen internationalen Erfolg auf der großen Leinwand. Wertmüller erklärt in einem Interview, dass dieser kommerzielle Erfolg teilweise das Ergebnis einer Änderung ihrer Einstellung zum Filmemachen war. Sie suchte nach einem populären Kino, das es ihr ermöglichte, mit den Menschen zu kommunizieren. Wertmüllers Suche nach einem "populären Kino" drehte sich um den Wunsch, eine neue Beziehung zu einem anderen Publikumstyp herzustellen. Diese Suche erwies sich als erfolgreich, da viele Zuschauer ihre Filme sahen. Wertmüllers Filme der 1970er Jahre zielten darauf ab, das Bewusstsein breiter Massen von gewöhnlichen Zuschauern für bestimmte soziale und politische Themen zu schärfen. Dieses Ziel wird oft durch die Verwendung der Konventionen des populären Genrekinos verfolgt; das Genre, das Wertmüller in ihren kommerziell erfolgreichsten Filmen der 1970er Jahre wählte, war die Komödie. - The Lizards/I basilischi (1963) - worked as assistant director for Federico Fellini on 8. (1963) - seemed to be entirely within the great Italian tradition of auteur cinema - rst major international success on the - big screen, The Seduction of Mimì/Mimì metallurgico ferito nell’onore (1972) - United States where she was nominated for an Oscar for best director - Wertmüller’s search for a ‘popular cinema’ revolved around a desire to establish a new relation with a di erent kind of audience - Wertmüller’s lms aim to raise the consciousness of vast masses of ordinary spectators around particular social and political issues - the use of the conventions of popular genre cinema; the genre that Wertmüller chose in her most commercially successful lms of the 1970s was that of comedy - Wertmüller’s lms bring into critical focus the limitations of the categories normally invoked in the study of popular and art cinemas whilst complicating the often taken-for-granted assumption about the spontaneity and the lack of artistry of popular cinema - associated with popular genre cinema (mainly comedy) and particularly her use of laughter; „accessible, familiar“ - The Seduction of Mimì follows the story of a Sicilian miner (Mimì) who loses his job after refusing to vote for a Ma a-backed candidate at the local elections and then moves to Turin in search of better work opportunities. Finds a new political passion and job as metalworker + new love = Fiore - Whilst presenting Mimì as a laughable caricature, The Seduction of Mimì also establishes a space for the audience to enjoy feelings of empathy and identi cation with him Intertwined with the moral and political dilemma (the con ict between political ideology and per sonal interest) that Mimì faces in the story, this plot line of frustrated sexual desire, left dangling in the rst section, is then picked up in the section of the lm set in Turin when Mimì nally meets Fiore. - On one level, The Seduction of Mimì deploys a narrative of romantic wish-ful lment that gives a prominent role to the emotions and passion in the actions of the protagonists, especially Mimì and Fiore. On the other, it plays with the very idea that this kind of narrative will necessarily reduce the complexity of the ‘serious’ political issues raised. fi ff ff fi fi fi ff fi fl fi fi fi fi fi fi fi  - Wertmüller’s popular cinema, I am arguing, is based on this trajectory: it moves from a moment of familiarization to a subsequent state of dis comfort appearing when the terms of a political and/or moral dilemma are revealed. It is a trajectory that becomes clear in a number of scenes in which a collective eye pauses on the protagonist. - During these moments, the lm enacts a kind of suspension; marked by the lack of verbal interaction, these are moments that generally imply a relief from the prevailingly comic development of the story and which draw attention to the eyes as silent intra-diegetic propellants for the audience’s evaluation of the issues raised by the lm. - Underlining laughter as a privileged method for connecting with a mass audience - In both cases, the oppressiveness of the power that these characters represent is not shown in its frightening aspect, but under a humorous light that reveals the vulnerability of this power to derision. - Wertmüller is a director whose use of laughter – often reliant on vulgar jokes and obscenities – has been targeted, especially in Italy, by accusations of degradation and debasement. - The second part of The Seduction of Mimì develops an increasingly important plot line that shows Mimì taking his revenge against a man who has made his wife pregnant. - moment when even the most enthusiastic defenders of Wertmüller’s work appreciate that the gratuitous visual indulgence on Amalia’s fat body should be criticized. - What makes Amalia’s body laughable is not only its chubbiness but how her erotic performance in the striptease clashes with dominant ideas of what constitutes proper sexualized femininity. - We are encouraged to laugh at Mimì’s shift from victimizer to victim as he comes to terms with Amalia’s chubbiness - This is a quintessential Wertmüller moment, one in which women make a spectacle of themselves by violating the conventions regulat ing their social visibility, thus exposing themselves to laughter - Amalia’s performance is imbued with the sexist stereotypes that make her body laughable to the audience, as promptly signalled by the editing pattern binding Mimì’s distressed gaze to the view of Amalia’s body. - Her playful gaze makes a mockery of the proper performance of the ideal sexualized female body. Wertmüller signals the unseriousness of this moment with a sudden shift to warmlight that invites us to reconsider our initial realistic engagement with this erotic spectacle. - This scene evokes a distinctly feminine imagery of grotesque excessthat seems to appear frequently in Wertmüller’s lms - Amalia’s performance in The Seduction of Mimì makes explicit the a rmative and celebratory potential of women’s bodily exposure and hyperbolic exaggeration raised by Russo’s study and subsequently expanded and complicated by Kathleen Rowe in The Unruly Woman (1995). - By unashamedly aunting a number of excesses that violate codes of proper femininity, Amalia appears in the lm as much more than a passive object of scorn. - Together with the use of the wide-angle lens, the modulation of speci c camera angles in this scene makes explicit the self-empowering implications of this ‚masquerade’ - By exaggerating the di erence in size between Amalia’s body and Mimì’s, this scene visually anticipates the overturning of the power relation between these two characters in the story. - Such a use of the camera angles and its expressive meaning are very much consistent with how the lm makes use of asymmetries in points of view to convey the relations of power and submission between characters. - showing the asymmetric visual relation between the powerful and the submissive. This is done either through - dramatically high or dramatically low camera angles or by placing the character that exerts power on a higher plane such as a terrace, a balcony or a yover - Wertmüller’s lms are detested and rejected by some critics as. manipulative and exploitative commercial operations for the way they seem to bring together a set of binaries that should be kept separate: serious/comic; political commitment/entertainment; the director’s presumed allegiance to feminism/sexist jokes - Wertmüller’s lms are detested and rejected by some critics as manipulative and exploitative commercial operations for the way they seem to bring together a set of binaries that should be kept separate: serious/comic; political commitment/entertainment; the director’s presumed allegiance to feminism/sexist jokes - If it is true what Stuart Hall says when he argues that the active reworking of traditions and activities should be at the heart of the study of popular culture then it is precisely the presence fi fi fi fi fl ff fi fi fl ffi fi fi  of these opportunities, I conclude, which makes Wertmüller’s popular lms of the 1970s such an interesting cultural, aesthetic and political arena. 4. ROBERT S. C. GORDON, Hollywood and Italy - Industries and Fantasies - In the 1950s in which Hollywood and Italy came into complex and symbiotic contact - First Film was American and mainstream, hugely succesful genre movie and star vehicle - Second lm released six years later, was Italian and art house - Links between these two lms: view the dynamic interactions, hybridization and cross- fertilization Important Points in the Text by Robert S. C. Gordon: Plot Summary and Key Films: - The text describes the plot similarities between "Roman Holiday" (1953) and "La dolce vita" (1960), highlighting their depiction of Hollywood and Italian culture interactions. - "Roman Holiday" is an American mainstream lm starring Audrey Hepburn and Gregory Peck. - "La dolce vita" is an Italian art-house lm by Federico Fellini, featuring Anita Ekberg and Marcello Mastroianni. Industries: - The 1950s saw intense interaction and collaboration between Hollywood and Europe, particularly Rome. - Post-WWII, Hollywood faced economic challenges and began outsourcing production to places like Rome, bene ting from cheaper labor and production costs. - Rome's Cinecittà studios, founded by Mussolini, became a hub for Hollywood productions, especially for large-scale epics like "Quo Vadis" (1951) and "Ben-Hur" (1959). - The era of "Hollywood on the Tiber" saw stars moving to Rome, creating a subculture of glamour, scandal, and media attention. Fantasies: Star Bodies: - Both "Roman Holiday" and "La dolce vita" revolve around the cultural iconography and erotic play of their female stars, Audrey Hepburn and Anita Ekberg. - Hepburn's image was molded to be modern and androgynous, while Ekberg's was hyperbolic and sexualized, evoking comparisons to Marilyn Monroe. Celebrity: - Both lms address the culture of celebrity, with "Roman Holiday" focusing on a princess's escape from royal duties and "La dolce vita" on the decadent life of a lm star. - Fellini's lm critiques the modern media's obsession with celebrity and its impact on Italian culture. Tourism: - Both lms feature the stars as tourists in Rome, showcasing iconic sites like the Trevi Fountain and the Spanish Steps. fi fi fi fi ​ fi ​ fi ​ fi ​ fi fi fi ​ ​ ​ ​  - "Roman Holiday" and "La dolce vita" re ect Rome's historical signi cance in tourism and its visual representation in lm. Interplay Between Hollywood and Italian Cinema: - The text highlights the porous interface between Hollywood and Italian cinema in the 1950s, with both industries in uencing each other. - "Roman Holiday" and "La dolce vita" serve as examples of this cultural exchange, blending Hollywood glamour with Italian settings and narratives. Production and Screenwriting Links: - "Roman Holiday" involved Italian screenwriters Suso Cecchi d'Amico and Ennio Flaiano, who also worked on "La dolce vita." - The lms share plot parallels and production links, re ecting the hybridization between Hollywood and Italian cinema. Cultural and Visual History: - - Both lms are conscious of Rome's cultural and visual history, using the city as a backdrop for their narratives. - They explore themes of modernity, celebrity, and tourism, capturing the essence of Rome as a tourist destination and a symbol of cultural exchange. Impact on Film and Culture: - "Roman Holiday" and "La dolce vita" in uenced the portrayal of celebrity, tourism, and modernity in cinema. - They represent a signi cant moment in the history of global lm industry and US-European geopolitical relations, highlighting the dynamic interactions between Hollywood and Italian culture. "La dolce vita" had a profound in uence on Italian cinema in several key ways: Cultural Impact: - The lm recodi ed Rome for Italian lm and culture, portraying it as a playground of Hollywood glamour and decadence. It re ected the economic and sociocultural transformations of Italy during the late 1950s, known as the "economic miracle." Critique of Modernity: - Fellini's lm o ered a portrait and critique of modernity, consumerism, and the moral vacuum that came with new prosperity. It addressed the complexities of contemporary Italian society and its rapid modernization. Celebrity Culture: - "La dolce vita" provided an acute commentary on the culture of celebrity and the media's role in shaping public perception. The lm's depiction of paparazzi and the obsession with stars in uenced how Italian cinema portrayed fame and its consequences. Visual and Narrative Style: fl fi fi fi fi ff fi ​ ​ fi fl fi ​ ​ ​ ​ fl ​ ​ fi fl fi ​ fl fl ​ ​ fl ​ ​ ​ fi fi  - The lm's innovative narrative structure and visual style set new standards for Italian cinema. Its episodic format, stunning cinematography, and use of real Roman locations became in uential in the industry. Themes of Decadence and Morality: - By exploring themes of decadence, existential angst, and the search for meaning, "La dolce vita" inspired Italian lmmakers to delve into more complex and introspective storytelling. In uence on Filmmakers: - The lm in uenced a generation of Italian directors, encouraging them to experiment with narrative forms and tackle contemporary social issues. It solidi ed Fellini's reputation as a leading auteur and set a benchmark for Italian art-house cinema. Overall, "La dolce vita" played a crucial role in shaping the direction of Italian cinema, pushing it towards greater artistic expression and social commentary. 5. COLADONATO V. - The reception of Rome, Open City in France (1946-68): Realism for the elites, revolution for the people Reception of "Rome, Open City" in France 1. The lm was immediately recognized in 1946-47 for its radical innovations and "truth," distinguishing it from other contemporary Resistance lms. Its emotional impact and historical testimony were initially the main focus of attention. 2. During the 1950s, the lm's signi cance shifted as it became celebrated as the beginning of Neorealism, though not its "purest" expression. It was also viewed as part of Rossellini's auteur vision, but not his most "modern" work. 3. The lm's visibility declined in the 1950s as cinephilia developed its own symbolic capital. The hybrid cinematic language and overt political engagement of "Rome, Open City" became less aligned with the cultural climate. 4. In the late 1960s, leading up to May 1968, the lm experienced renewed interest in arthouse theaters. It was appreciated for two aspects: its spontaneous approach to capturing events and its connection to resistance and political activism. 5. The lm's reception was shaped by different cultural contexts, from its initial impact as a war testimony to its later appreciation in both artistic and political spheres. The lm's success was marked by its unique hybrid nature, combining melodramatic elements with documentary-style realism. Early French critics in 1946-47 didn't see these elements as contradictory but rather as complementary in conveying the lm's "truth." The concept of "truth" was central to critical discussions, preceding the later emphasis on "realism" as a technical or aesthetic category. The lm resonated particularly well with two key demographics: Italian immigrants in France (due to its antifascist and Catholic themes) and Parisian intellectual circles. For Italian immigrants, it was seen as a "safe" lm that aligned with their community values. Critics like Jean Desternes noted the lm's diverse in uences, from Shakespeare's comic effects to Hemingway's factual style. This hybridity was viewed positively, with critics suggesting that the lm's truth emerged from its ability to combine different storytelling approaches. The melodramatic elements, which would later be criticized by theorists like Bazin, were initially accepted as part of the lm's authentic portrayal of wartime experiences. fl fl fi fi fi fi fi fi fi fl fi fi fi fi fi fi fi fi fi fl ​ fi fi ​  The lm experienced varying levels of visibility and cultural signi cance across different periods. In the late 1960s, it gained renewed attention in arthouse theaters and public debates. This revival coincided with growing political activism in French cinema, particularly around the events of May 1968. The lm's reemergence aligned with a broader politicization of cinema culture. During this period, lm industry workers became actively involved in political contestation, starting with protests over Henri Langlois's removal from the Cinematheque Française. This culminated in the États Généraux du cinema, a gathering of 1,500 professionals and students calling for structural reform of state lm policies. The lm was screened during factory occupations and protests, alongside other political lms. For example, it was shown during the occupation of the Renault factory in Flins. These screenings weren't part of of cial circuits, making complete records scarce. Interestingly, some of the same New Wave lmmakers who had previously maintained apolitical stances became politically engaged during this period. This shift represented a signi cant change in how cinema was viewed - moving from pure artistry to a tool for political change. 1. Box of ce success: The lm reached over 640,867 Parisian spectators in 1946-47, with approximately one in ve Parisians seeing it - demonstrating massive popular appeal. 2. Italian immigrant reception: The Italian version with French subtitles sold 43,090 tickets in ve weeks, suggesting strong resonance with the Italian immigrant community due to its anti-fascist and Catholic themes. 3. Critical discussions: The torture scene was particularly controversial, sparking debates about its necessity and effectiveness. Some praised its "truth" while others found it distasteful. 4. Educational impact: The lm was quickly incorporated into lm school curricula at prestigious institutions like IDHEC, showing its rapid academic canonization. 5. Changing visibility: The lm's presence in French theaters uctuated signi cantly - after its initial success, it largely disappeared from commercial circuits in the early 1970s as cultural and political priorities shifted. This combination of commercial success, cultural impact, controversial elements, educational value and changing reception patterns provides a more complete picture of the lm's importance in French society. 6. REKA BUCKLEY: Dressing the Part: „Made in Italy“ Goes to the Movies with Lucia Bose in Chronicle of a Love Affair 1. The 1950s marked Italy's fashion industry's emergence as an independent force, breaking away from Parisian in uence and establishing "Made in Italy" as a symbol of quality. 2. Chronicle of a Love Affair (1950) was signi cant for: Reintroducing haute couture to Italian cinema post-war Turning Lucia Bosé into a fashion icon Demonstrating how costumes were sourced through personal connections 3. Italian costume production differed from Hollywood by: Lacking well-organized costume departments Relying on personal relationships between stars, designers, and fashion houses Using improvisational techniques due to budget constraints 4. The lm's costume creation involved: fi fi fi fi fi fi fi fi fi fi fi fi fi fi fl fi fi fi fl fi fi fi fi  Count Ferdinando Sarmi as stylist Creative solutions like making a gown from an old wedding dress underskirt Incorporation of Bosé's personal wardrobe Borrowing from fashion houses (Rivella for furs, Ditta Corsi for jewels) 5. Fashion served multiple functions in the lm: As a plot device and spectacle To establish character class and psychology To symbolize wealth, power, and social constraints This marked a signi cant shift in Italian cinema's approach to costume and style, re ecting the country's post-war economic recovery. 1. The 1950s marked Italy's fashion industry's emergence as an independent force, breaking away from Parisian in uence and establishing "Made in Italy" as a symbol of quality. 2. Chronicle of a Love Affair (1950) was signi cant for: Reintroducing haute couture to Italian cinema post-war Turning Lucia Bosé into a fashion icon Demonstrating how costumes were sourced through personal connections 3. Italian costume production differed from Hollywood by: Lacking well-organized costume departments Relying on personal relationships between stars, designers, and fashion houses Using improvisational techniques due to budget constraints 4. The lm's costume creation involved: Count Ferdinando Sarmi as stylist Creative solutions like making a gown from an old wedding dress underskirt Incorporation of Bosé's personal wardrobe Borrowing from fashion houses (Rivella for furs, Ditta Corsi for jewels) 5. Fashion served multiple functions in the lm: As a plot device and spectacle To establish character class and psychology To symbolize wealth, power, and social constraints This marked a signi cant shift in Italian cinema's approach to costume and style, re ecting the country's post-war economic recovery. 1. The lm marked the of cial re-introduction of haute couture to Italian screens in the post-war era, coming at a time when Italy was beginning to recover and could once again embrace luxury on screen. 2. The lm features two distinct fashion worlds - the more accessible boutique shopping versus the elite, exclusive atelier experience, highlighted through speci c scenes of Paola's movements between these spaces. fi fi fi fl fi fi fi fi fi fi fi fl fl  3. The lead actress Bosé's personal wardrobe was incorporated into the lm due to budget constraints, which was common practice during this period when lm budgets were limited. 4. The lm's costume designer, Count Ferdinando Sarmi, was an aristocrat who had trained under Alberto Fabiani and designed for Rome's elite and Hollywood stars. 5. The intricate relationship between fashion and deception is explored, as Paola uses fashion-related excuses (like calling her dressmaker) to contact her lover. 7. Marcia Landy: Genre, Politics, and the Racist Subject in the Cinema of Italy (1922-1945) Directors Mario Camerini and Alessandro Blasetti were instrumental in transforming Italian cinema during this period. They adapted foreign models while creating distinctly Italian works, recognizing cinema as both art and industry. The era saw signi cant technological and stylistic changes, particularly with the transition to sound lms in the late 1920s. Popular genres included melodramas, comedies, and historical lms. Melodramas often explored themes of class difference, family dynamics, and women's roles in society. The lms frequently contrasted rural and urban life, with many celebrating rustic values while expressing ambivalence toward modernization. The regime encouraged lms that combined entertainment with propaganda, particularly through historical epics that drew parallels between Italy's past and Fascist ideals. However, some directors, like Blasetti, eventually showed waning commitment to Fascism, creating works that subtly critiqued the regime's power. The cinema of this period re ected broader cultural shifts, emphasizing everyday life and common folk rather than the upper-class focus of earlier lms. The industry also developed star systems and promoted consumer culture, despite the regime's ostensible opposition to Hollywood in uences The role of female stars evolved signi cantly, as exempli ed by Isa Miranda. Unlike the "divas" of the silent era, new female stars balanced being both ordinary and extraordinary. Miranda was marketed through careful publicity campaigns comparing her to international stars like Greta Garbo and Katherine Hepburn, with particular emphasis on her photogenic qualities and expressive eyes. Mario Camerini's comedies played a crucial role, often exploring class tensions and identity formation through masquerade plots. His lms like "Il signor Max" and "Dar un milione" starred Assia Noris, who portrayed characters that embodied modest, appealing feminine ordinariness in contrast to upper-class theatricality. These works typically resolved class con icts through romance and redemption. Melodramas gained popularity in the 1930s-40s, adapting literary classics and exploring family dynamics. Films like "T'amer sempre" and "Come le foglie" often contrasted aristocratic decadence with working-class values, frequently resolving through the triumph of middle-class morality. These narratives re ected broader social tensions while generally avoiding overt political messages 1. Genre Evolution: The industry saw development across multiple genres including comedies, melodramas, historical lms, and biopics. Each genre served different purposes in engaging audiences while navigating political realities. 2. War Films: During World War II, a distinct category of lms emerged depicting Italian life both at home and in combat, with directors like Rossellini and de Robertis creating works that would later in uence neorealism. fi fi fl fl fi fi fl fl fi fl fi fi fi fi fi fi fi fi fi  3. Technical Innovation: The transition to sound technology in the late 1920s brought signi cant changes to narrative techniques, acting styles, and production methods. 4. Star System: Despite some directors' reservations, a unique Italian star system developed, with actors like Vittorio De Sica, Assia Noris, and Isa Miranda becoming prominent gures. 5. Industrial Organization: The lm industry operated within Fascism's corporate state structure, balancing commercial interests with political demands through organizations like the Dopolavoro. 8. MICHELE FADDA-DAMIANO GAROFALO: The distribution of contemporary italian cinema in US: the lms of Luca Guardagnino and Paolo Sorrentino The article examines the distribution of Italian cinema in the US, focusing on lms by Paolo Sorrentino and Luca Guadagnino between 2008-2017. It traces the historical trajectory from post-WWII arthouse cinema to contemporary distribution models. The study reveals two distinct approaches: Sorrentino's lms (La grande bellezza, Youth) maintained stronger Italian cultural identity but had lower US market share (11-12%), while Guadagnino's works (I Am Love, A Bigger Splash) achieved higher US success (33-44%) through more internationalized content and English-language production. The distribution strategies evolved from traditional arthouse distributors (Janus Films) to major companies (Fox Searchlight). The success of recent Italian lms in the US depends on balancing cultural authenticity with international appeal, representing a hybrid model that differs from earlier arthouse or Miramax-era strategies. - Beginning with an analysis of box o ce data it is possible to identify a „culture of circualtion“ where the practice of distribution appears as a performing act tied to the „creation“ of meaning and not merely to is „transmission“ - Aim: 1. Relate the national stereotype conveyed partially in these works (cultural imaginary of IT; places, values, lm style) to the desire to market products that are as globalized as possible (thanks in particular to co-productions), 2. Observe how this is linked on the level of content + lm style, both to the attempt to distribute these lms mainstream cinema and idependent and niche distribution channels - Films that were distinct on an aesthetic level as well for their domestic industrial context, those not by chance framed later in academic lm studies via he pot. Problematic term „art cinema“ - It was particularly between the second half of the 50s and rst of the 60s that IT cinemas role in creating cultural capital and boosting alternative lm theaters became clear - Fellini: Create an International auteur and globalize a national lm heritage - Star presence of Sophia Loren, Co-Productions, such distribution models for -> more international + „auteur“/ non-mainstream industrial model - Phenomenon of independent lm exhibitions in second post war period is the result of commercial rather then cultural operation - Second post war period => transformation of tastes - Box o ce 1996-2000: IT Cinemas penetration of US market only by successful single lms (Oscars) + distribution strategies of Miramax - As a matter of fact, as the progressive contraction ofMiramax's economic successes demonstrate (the company closed in 2005), the attempt to introduce a foreign product that was re-shaped to t the needs of a non-niche market into the US 's mainstream circuit incurred a business risk that was not always sustainable. Indeed, this model was never repeated in the same tenns after the 1990s - 2008-2017: Italians cinema (already marginal) theatrical distribution therefore appears limited in recent years, to a series of particularly appreciated auteurs at an international level - The total taking for Garrone’s lm can be divided equally between IT (49%) and EU spectators (45%) American (6%) - same pattern for Sorrentino - Luca Guardaginios st two lms: IT 3-4%, Europe 53%, US 30-50% - As well as the unyielding evidence of the decreasing proportional impact of Italian cinema of IT cinema on the American foreign lm market, it is striking that between fi ffi fi fi fi fi fi fi fi fi ffi fi fi fi fi fi fi fi fi fi fi fi fi  2007 and 2016 the IT lms released in the US theaters reached a total of 2.3 million spectators (a quarter of which I saw I Am Love) - In purely industrial terms, the way what IT auteur cinema ahas ben distributed over the last decade is a far cry from the promotion and distribution strategies used in previous years: not only in terms of a briefer average run in theaters compared to past, but above all for a new approach to distribution shared by the cases analyzed here - The cases studied here appear to indicate the tendency to present a kind of ITcinema to the American market that has a un xed identity. At times they embody nationality clearly, at leas in terms of content; at others, they utilize blatantly international (if not American characteristics - From a stylistic pov. The lms correspond to the trend of non-blockbuster international cinema that is nevertheless distributed in mainstream circuits; at others they reveal themselves to be the possessive custodians of a series of distinctive traits which clearly invoke the great tradition of modern, especially Italian, cinema - The cultural and industrial hybridity of it lm make sit, the most exportable model at present, but it moreover represents an evolution and a complication pf the classic foreign lm distribution strategies employed by Sony and Mirmax during 1990s fi fi fi fi fi