Burke - A Companion to Italian Cinema

1. Chapter 06
2. Chapter 17

1. Chapter 03
2. Chapter 04
3. Chapter 05
4. Chapter 07
5. Chapter 08
6. Chapter 09
7. Chapter 10
8. Chapter 11
9. Chapter 12
10. Chapter 14
11. Chapter 15
12. Chapter 16
13. Chapter 17
14. Chapter 18
15. Chapter 19
16. Chapter 20
17. Chapter 21
18. Chapter 24
19. Chapter 25
20. Chapter 26
21. Chapter 27
22. Chapter 28
23. Chapter 30
24. Chapter 31

The Wiley Blackwell Companions to National Cinemas showcase the rich film heritages of various countries across the globe. Each volume sets the agenda for what is now known as world cinema while challenging Hollywoods lock on the popular and scholarly imagination. Whether exploring Spanish, German, or Chinese film, or the broader traditions of Eastern Europe, Scandinavia, Australia, and Latin America, the 2030 newly commissioned chapters comprising each volume include coverage of the dominant themes of canonical, controversial, and contemporary films; stars, directors, and writers; key influences; reception; and historiography and scholarship. Written in a sophisticated and authoritative style by leading experts, they will appeal to an international audience of scholars, students, and general readers.

Published:

A Companion to German Cinema, edited by Terri Ginsberg & Andrea Mensch

A Companion to Chinese Cinema, edited by Yingjin Zhang

A Companion to East European Cinemas, edited by Anik Imre

A Companion to Spanish Cinema, edited by Jo Labanyi & Tatjana Pavlovi

A Companion to Contemporary French Cinema, edited by Raphalle Moine, Hilary Radner, Alistair Fox & Michel Marie

A Companion to Hong Kong Cinema, edited by Esther M. K. Cheung, Gina Marchetti, and Esther C.M. Yau

A Companion to Latin American Cinema, edited by Stephen M. Hart, Maria Delgado, and Randal Johnson

A Companion to Italian Cinema, edited by Frank Burke

Edited by

Frank Burke

This edition first published 2017
2017 John Wiley & Sons, Inc.

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Library of Congress CataloginginPublication Data

Names: Burke, Frank editor.
Title: A companion to Italian cinema / edited by Frank Burke.
Description: Chichester, West Sussex ; Malden, MA : John Wiley & Sons, Inc., 2017. | Series: Wiley blackwell companions to national cinemas | Includes bibliographical references and index.
Identifiers: LCCN 2016037504 (print) | LCCN 2016056129 (ebook) | ISBN 9781444332285 (cloth) | ISBN 9781119043997 (epdf) | ISBN 9781119006176 (epub)
Subjects: LCSH: Motion picturesItalyHistory and criticism.
Classification: LCC PN1993.5.I88 C595 2017 (print) | LCC PN1993.5.I88 (ebook) | DDC 791.430945dc23
LC record available at https://lccn.loc.gov/2016037504

A catalogue record for this book is available from the British Library.

Cover Image: MarsBars/Gettyimages
Cover Design: Wiley

In Memoriam, Peter Brunette, 19432010
To Tyler, Wylie, and Gabe

First of all, I must thank the contributors who have been there from the start for their patience with the preparation of this volume which, beginning with Peter Brunettes death, encountered a series of obstacles and delays. And for those who joined along the way, many thanks for your willingness to participate.

Emilia Griffin provided excellent translations for the Italianlanguage essays, and Zipporah Weisberg offered timely and enthusiastic copyediting support. Since virtually all the contributors offered invaluable advice regarding potential new contributors and/or priceless input on contemporary issues in Italian cinema studies, I refer the reader to the Notes on Contributors for my thanks on these matters! However, I will single out those who were called upon and responded well above the norm: Marguerite Waller, Millicent Marcus, Louis Bayman, Chris Wagstaff, Alan OLeary, Tiziana FerreroRegis, ine OHealy, Stefania Parigi, Barbara Corsi, and Peter Bondanella. Catherine ORawe, though unfortunately not a contributor, always heeded pleas for help.

Jayne Fargnoli has been the kind of editor about whom one can only dream: supportive, kind, positive, and present in a thoroughly enabling way. My project editor for most of this journey, Julia Kirk, offered an uncannily constructive combination of accountability and encouragement. Denisha Sahadevan has kept on top of the manuscript logistics that remained when she replaced Julia.

I owe special thanks to my Lucchesi friends. Romano Giammattei gave me the gifts of the Italian language and his friendship. He, along with Fellini, has been a foundational figure in my Italian experience. Marco Vanelli, whom I first met so appropriately in a Lucca video store, has been not only a great friend but also a huge professional support and resource. He has provided me with a sense of belonging in the world of Italianlanguage film criticism. Monica Innocenti has been a source of inspiration and provocative insight in all things Italian and Lucchese.