Introduction A Not So Solitary Genius: Traversing Authorial Politics and Methodological Anxieties An Ambiguous Adherence: Esotericism in Fellini?s Work and Collaborations 1 Tullio Pinelli Neutralizing Tragedy: A Pattern from La strada On A Metaphysical Fellowship: Transcending Christianity Nothing but Images: La voce della luna 2 Ennio Flaiano Frivolously Yours: The Public Dispute over Authorship The Self as Monster: Satire and Compassion in La dolce vita A Light in the Night: Negotiating Epiphany from I vitelloni to 8 1/2 3 Bernardino Zapponi The Script as Collage: The Unbound Notebooks of the 1970s Popular Culture and Neurosis: Toby Dammit and Beyond 4 The Poets An Organic Mind: Brunello Rondi from La dolce vita to Provad?orchestra You Are My Labyrinth: The Poetic Brotherhood with Pier Paolo Pasolini Eroticism as Dream and Nightmare: A Dialogue with Brunello Rondi Remembering Corporality: Tonino Guerra in Amarcord and E la nave va Maternal Pre-grammaticality: Pasolini, Guerra, and Zanzotto Conclusion Notes Bibliography Index
With the advancement of cybernetics, avatars, animation, and virtual reality, a thorough understanding of how the puppet metaphor originates from specific theatrical practices and media is especially relevant today. This book identifies and interprets the aesthetic and cultural significance of the different traditions of the Italian puppet theater in the broader Italian culture and beyond. Grounded in the often-overlooked history of the evolution of several Italian puppetry traditions – the central and northern Italian stringed marionettes, the Sicilian pupi, the glove puppets of the Po Valley, and the Neapolitan Pulcinella – this study examines a broad spectrum of visual, cinematic, literary, and digital texts representative of the functions and themes of the puppet. A systematic analysis of the meanings ascribed to the idea and image of the puppet provides a unique vantage point to observe the perseverance and transformation of its deeper associations, linking premodern, modern, and contemporary contexts.
A History of Italian Cinema, 2nd edition is the much anticipated update from the author of the bestselling Italian Cinema - which has been published in four landmark editions and will celebrate its 35th anniversary in 2018. Building upon decades of research, Peter Bondanella and Federico Pacchioni reorganize the current History in order to keep the book fresh and responsive not only to the actual films being created in Italy in the twenty-first century but also to the rapidly changing priorities of Italian film studies and film scholars. The new edition brings the definitive history of the subject, from the birth of cinema to the present day, up to date with a revised filmography as well as more focused attention on the melodrama, the crime film, and the historical drama. The book is expanded to include a new generation of directors as well as to highlight themes such as gender issues, immigration, and media politics. Accessible, comprehensive, and heavily illustrated throughout, this is an essential purchase for any fan of Italian film.
Introduction A Not So Solitary Genius: Traversing Authorial Politics and Methodological Anxieties An Ambiguous Adherence: Esotericism in Fellini?s Work and Collaborations 1 Tullio Pinelli Neutralizing Tragedy: A Pattern from La strada On A Metaphysical Fellowship: Transcending Christianity Nothing but Images: La voce della luna 2 Ennio Flaiano Frivolously Yours: The Public Dispute over Authorship The Self as Monster: Satire and Compassion in La dolce vita A Light in the Night: Negotiating Epiphany from I vitelloni to 8 1/2 3 Bernardino Zapponi The Script as Collage: The Unbound Notebooks of the 1970s Popular Culture and Neurosis: Toby Dammit and Beyond 4 The Poets An Organic Mind: Brunello Rondi from La dolce vita to Provad?orchestra You Are My Labyrinth: The Poetic Brotherhood with Pier Paolo Pasolini Eroticism as Dream and Nightmare: A Dialogue with Brunello Rondi Remembering Corporality: Tonino Guerra in Amarcord and E la nave va Maternal Pre-grammaticality: Pasolini, Guerra, and Zanzotto Conclusion Notes Bibliography Index
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