Documents the rich history of Italian American working women in Connecticut, including the crucial role they played in union organizing. Often treated as background figures throughout their history, Italian women of the lower and working classes have always struggled and toiled alongside men, and this did not change following emigration to America. Through numerous oral history narratives, Farms, Factories, and Families documents the rich history of Italian American working women in Connecticut. As farming women, they could keep up with any man. As entrepreneurs, they started successful businesses. They joined men on production lines in Connecticuts factories and sweatshops, and through the strength of the neighborhood networks they created, they played a crucial role in union organizing. Empowered as foreladies, union officials, and shop stewards, they saved money for future generations of Italian American women to attend college and achieve dreams they themselves could never realize. The book opens with the voices of elderly Italian American women, who reconstruct daily life in Italys southern regions at the turn of the twentieth century. Raised to be caretakers and nurturers of families, these women lived by the culturally claustrophobic dictates of a patriarchal society that offered them few choices. The storytellers of Farms, Factories, and Families reveal the trajectories of immigrant women who arrived in Connecticut with more than dowries in their steam trunks: the ability to face adversity with quiet inner strength, the stamina to work tirelessly from dawn to dusk, the skill to manage the family economy, and adherence to moral principles rooted in the southern Italian code of behavior. Second- and third-generation Italian American women who attended college and achieved professional careers on the wings of their Italian-born mothers and grandmothers have not forgotten their legacy, and though Italian American immigrant women lived by a script they did not write, Farms, Factories, and Families gives them the opportunity to tell their own stories, in their own words. Anthony Riccios collection of womens oral histories is an extremely valuable addition to the growing literature regarding Italian American womens lives. The detail in which these women speak about their work lives as charcoal burners, clay kneaders, cheese makers, union organizersone had her ribs brokenadds a much needed dimension to an understanding of Italian American women. This volume is filled with thoughtful reflections ranging from Mussolini to issues of social justice. Riccio has unleashed from these women dramatic and sometimes harrowing stories never before heard, or perhaps even imagined. Carol Bonomo Albright, Executive Editor of Italian Americana and coeditor of American Woman, Italian Style: Italian-Americanas Best Writings on Women What comes more naturally to the elderly but to reminisce? Riccio helps us eavesdrop on the first-person oral narratives of some of our earliest immigrants. We are grateful to him. Luisa Del Giudice, editor of Oral History, Oral Culture, and Italian Americans I have long awaited a book like this: a history of Italian American women, in which they themselves are the narrators of their own lives. We hear from women without formal education; women who were workers, migrants, and mothers; women whose stories were often not valued enough to enter into the historical record, much less the archives. This beautifully conceived history is both a testament and a tribute to all working-class and im/migrant families and communities. Jennifer Guglielmo, author of Living the Revolution: Italian Womens Resistance and Radicalism in New York City, 18801945
Winner of the 2022 Book Award for Performance and Visual Culture presented by the American Association of Teachers of Italian Orienting Italy explores contemporary Italian filmmakers' fascination with China and the Chinese in both documentary and fictional films. Delineating the contours of this fascination, the book begins with the works of Carlo Lizzani (Behind the Great Wall, 1958) and Michelangelo Antonioni (Chung Kuo—China, 1972), both of whom ventured to China with the aim of documenting new, yet physically and culturally distant, realities. Their documentary investigations yielded to fictional portrayals, from the lavish view of a historical Middle Kingdom by director Bernardo Bertolucci (The Last Emperor, 1987) to the stark consideration of Italian economic exchange with contemporary China by Gianni Amelio (The Missing Star, 2006). The wave of Chinese migration to Italy in the late twentieth century created a new sense of otherness within Italy as Chinese migrants became the subjects of fictional narratives and documentaries in the works of Stefano Incerti (Gorbaciof, 2010) and Andrea Segre (Shun Li and the Poet, 2011) and Riccardo Cremona and Vincenzo De Cecco (Miss Little China, 2009). In the twenty-first century, a new chapter in the relationship between Italy and China has emerged in the form of transnational collaborations in the art and business of filmmaking.
Tracks the influence of Italian cinema on American film from the postwar period to the present. In The Transatlantic Gaze, Mary Ann McDonald Carolan documents the sustained and profound artistic impact of Italian directors, actors, and screenwriters on American film. Working across a variety of genres, including neorealism, comedy, the Western, and the art film, Carolan explores how and why American directors from Woody Allen to Quentin Tarantino have adapted certain Italian trademark techniques and motifs. Allens To Rome with Love (2012), for example, is an homage to the genius of Italian filmmakers, and to Federico Fellini in particular, whose Lo sceicco bianco/The White Sheik (1952) also resonates with Allens The Purple Rose of Cairo (1985) as well as with Neil LaButes Nurse Betty (2000). Tarantinos Kill Bill saga (2003, 2004) plays off elements of Sergio Leones spaghetti Western Cera una volta il West/Once Upon a Time in the West (1968), a transatlantic conversation about the Western that continues in Tarantinos Oscar-winning Django Unchained (2012). Lee Danielss Precious (2009) and Spike Lees Miracle at St. Anna (2008), meanwhile, demonstrate that the neorealism of Roberto Rossellini and Vittorio De Sica, which arose from the political and economic exigencies of postwar Italy, is an effective vehicle for critiquing social issues such as poverty and racism in a contemporary American context. The book concludes with an examination of American remakes of popular Italian films, a comparison that offers insight into the similarities and differences between the two cultures and the transformations in genre, both subtle and obvious, that underlie this form of cross-cultural exchange.
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