Get 20M+ Full-Text Papers For Less Than $1.50/day. Start a 14-Day Trial for You or Your Team.

Learn More →

Italian Women Filmmakers and the Gendered ScreenAlina Marazzi’s Women

Italian Women Filmmakers and the Gendered Screen: Alina Marazzi’s Women [Film scholars discuss the inception of New-New Italian Film in La Meglio Gioventù. Nuovo Cinema Italiano 2000–2006 (Zagarrio 2006: 11), and identify a mixed generation of directors and producers engaged in the creation of a “cinema diverso” (different cinema) for the new millennium (12). Scholars attribute this new generation with introducing innovation into Italian cinema through their experimentation with cinematic techniques, narrative strategies, and intelligent, but less direct social critique, to generate original national cinema. Commenting on the definition New-New Italian Film in his essay entitled “Certi bambini … I nuovi cineasti italiani” (Certain children … the new Italian filmmakers), Vito Zagarrio chose the expression “la meglio gioventù” (the best of youth), borrowing the title of Marco Tullio Giordana’s film to describe this new wave of filmmakers to mark the separation of this group from previous generations and to further emphasize their unconventional creativity.1 There are both famous and unknown names included among the most influential new directors that the scholars consider to be innovators since the originality of their stories and cinematic techniques is what counts: Paolo Sorrentino, Alina Marazzi, Paolo Franchi, Matteo Garrone, Luca Lucini, Alex Infascelli, Andrea and Antonio Frazzi, and Piergiorgio Gay.] http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png

Italian Women Filmmakers and the Gendered ScreenAlina Marazzi’s Women

Part of the Italian and Italian American Studies Book Series
Editors: Cantini, Maristella
Cecchini, Fabiana
Italian Women Filmmakers and the Gendered Screen — Nov 3, 2015
Download PDF
20 pages

Loading next page...
 
/lp/springer-journals/italian-women-filmmakers-and-the-gendered-screen-alina-marazzi-s-women-trdjk00UyX

References (6)

Publisher
Palgrave Macmillan US
Copyright
© Palgrave Macmillan, a division of Nature America Inc. 2013
ISBN
978-1-349-46352-7
Pages
173 –193
DOI
10.1057/9781137336514_10
Publisher site
See Chapter on Publisher Site

Abstract

[Film scholars discuss the inception of New-New Italian Film in La Meglio Gioventù. Nuovo Cinema Italiano 2000–2006 (Zagarrio 2006: 11), and identify a mixed generation of directors and producers engaged in the creation of a “cinema diverso” (different cinema) for the new millennium (12). Scholars attribute this new generation with introducing innovation into Italian cinema through their experimentation with cinematic techniques, narrative strategies, and intelligent, but less direct social critique, to generate original national cinema. Commenting on the definition New-New Italian Film in his essay entitled “Certi bambini … I nuovi cineasti italiani” (Certain children … the new Italian filmmakers), Vito Zagarrio chose the expression “la meglio gioventù” (the best of youth), borrowing the title of Marco Tullio Giordana’s film to describe this new wave of filmmakers to mark the separation of this group from previous generations and to further emphasize their unconventional creativity.1 There are both famous and unknown names included among the most influential new directors that the scholars consider to be innovators since the originality of their stories and cinematic techniques is what counts: Paolo Sorrentino, Alina Marazzi, Paolo Franchi, Matteo Garrone, Luca Lucini, Alex Infascelli, Andrea and Antonio Frazzi, and Piergiorgio Gay.]

Published: Nov 3, 2015

Keywords: Female Identity; Home Video; Life Narrative; Ashgate Publishing; Narrative Strategy

There are no references for this article.