This book traces the origins of a financial institution, the modern corporation, in Genoa and reconstructs its diffusion in England, the Netherlands, and France. At its inception, the Casa di San Giorgio (1407–1805) was entrusted with managing the public debt in Genoa. Over time, it took on powers we now ascribe to banks and states, accruing financial characteristics and fiscal, political, and territorial powers. As one of the earliest central banks, it ruled territories and local populations for almost a century. It controlled strategic Genoese possessions near and far, including the island of Corsica, the city of Famagusta (in Cyprus), and trading posts in Crimea, the Black Sea, the Lunigiana in northern Tuscany, and various towns in Liguria. In the early sixteenth century, in his Florentine Histories (Book VIII, Chapter 29), Niccolò Machiavelli was the first to analyze the relationship between the Casa di San Giorgio’s financial and territorial powers, declaring its possession of territories as the basis of its ascendancy. Later, the founders of some of the earliest corporations, including the Dutch East India Company (1602), the Bank of England (1694), and John Law’s Mississippi Company (1720) in France, referenced the model of the Casa di San Giorgio.
The history of cinema, and notably that of post-war Italian cinema, can only be understood adequately in the context of other contiguous cultural disciplines. World literature, including that of France, Germany, and Russia, played a key role in the development of post-war Italian film and the cinematic technique it has come to embody. Moving away from the usual modes of defining this period—a trajectory that begins with neorealism and ends with Bertolucci—author Carlo Testa offers proof that coming to terms with literary texts is an essential step toward understanding the motion pictures they influenced. The means of recreating literature for the screen has changed drastically over the last half-century, as has the impact of different national traditions on Italian cinema. Testa's work is the first to explicitly and deliberately link postwar Italian cinema to general intellectual concerns such as the relationship between literary authors and cinematic auteurs. Moreover, his analysis of the impact of French, German, and Russian cultures on Italy brings forth a new reading of Italian cinema, a new paradigm for exploring complex issues of authorship, culture, and art.
This book traces the origins of a financial institution, the modern corporation, in Genoa and reconstructs its diffusion in England, the Netherlands, and France. At its inception, the Casa di San Giorgio (1407–1805) was entrusted with managing the public debt in Genoa. Over time, it took on powers we now ascribe to banks and states, accruing financial characteristics and fiscal, political, and territorial powers. As one of the earliest central banks, it ruled territories and local populations for almost a century. It controlled strategic Genoese possessions near and far, including the island of Corsica, the city of Famagusta (in Cyprus), and trading posts in Crimea, the Black Sea, the Lunigiana in northern Tuscany, and various towns in Liguria. In the early sixteenth century, in his Florentine Histories (Book VIII, Chapter 29), Niccolò Machiavelli was the first to analyze the relationship between the Casa di San Giorgio’s financial and territorial powers, declaring its possession of territories as the basis of its ascendancy. Later, the founders of some of the earliest corporations, including the Dutch East India Company (1602), the Bank of England (1694), and John Law’s Mississippi Company (1720) in France, referenced the model of the Casa di San Giorgio.
Carlo Testa demonstrates that while pairings of famed directors and writers are commonplace in modern Italian cinema, the study of the interrelation between Italian cinema and European literature has been almost completely neglected in film scholarship.
The history of cinema, and notably that of post-war Italian cinema, can only be understood adequately in the context of other contiguous cultural disciplines. World literature, including that of France, Germany, and Russia, played a key role in the development of post-war Italian film and the cinematic technique it has come to embody. Moving away from the usual modes of defining this period—a trajectory that begins with neorealism and ends with Bertolucci—author Carlo Testa offers proof that coming to terms with literary texts is an essential step toward understanding the motion pictures they influenced. The means of recreating literature for the screen has changed drastically over the last half-century, as has the impact of different national traditions on Italian cinema. Testa's work is the first to explicitly and deliberately link postwar Italian cinema to general intellectual concerns such as the relationship between literary authors and cinematic auteurs. Moreover, his analysis of the impact of French, German, and Russian cultures on Italy brings forth a new reading of Italian cinema, a new paradigm for exploring complex issues of authorship, culture, and art.
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