Fee-waivers and partial fee-waivers are available. Establishment of the network of European Centers on Religion and Politics. June 16, During the third congress of the European Academy of Religion on March 4 , the leaders of some of these centers launched the network of European Centers on Religion and Politics.
The second one is be a platform to disseminate research findings and projects in order to create a fruitful interactions with media and policy-makers working at the interface of religion and politics. June 6, Issues related to religion show up frequently in news coverage in European media. News reports regularly describe the intertwining of religion with migration, politics, culture and public life. Faith plays a role in the growing polarization in society, the rise of populist parties in almost every country, and the challenges posed by fake news and hate speech. In this context, journalists in Europe face an increasingly complex task in their newsrooms.
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Have Institutional Access? Forgot your password? PDF Preview. He has published on American, Italian-American, and Italian cinema. Phantasmagoria, the Magic Lantern, the Moving Panorama, and then the cinematographic screens are just some of its most typical expressions.
The digital revolution has intensified and multiplied our exposure to new screens, such as computer monitors, mobile phones, GPS devices, video games consoles, augmented reality, necessarily involving us in new experiences of mobility, tactility, interactivity, connectivity and immersion. This panel aims to explore how the Italian arts have creatively responded to the concept and materiality of screens in various forms of intermediality across cinema, video art, video installations, theatre, architecture and urban spaces across the decades.
Our papers will concentrate on three periods: ss, s and the New Millennium.
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Screens and theatricality in Italian art, c. This talk will consider this historical proliferation through the lens of art, by looking at various manifestations of — and takes on — the screen in Italian art of the period, focusing on the vetrini of Bruno Munari ss , the schermi and projections of Fabio Mauri ss , and the Environmental Screen of Marinella Pirelli Revisiting, among others, Michael Frieds well-known notion of theatricality or theatre , and Stanley Cavells conception of the screen as a barrier , I will consider how a significant number of artists in these decades sought to engage both cinema and theatre, and to challenge the barrier of the screen.
The engagement of the screen in the works of Munari, Mauri and Pirelli, where screens envelop ordinary objects, or become props or even stages for the viewer, are exemplary of such attempt to articulate cinema theatrically, so to speak, as an intermedial force which may undo, or at least re-draw, the boundaries of art and its disciplines. Her research explores the interrelations between art and cinema, film and photography, live and recorded media, with a focus on post practices. Emanuela Patti Royal Holloway, University of London, UK Beyond computer screens: projecting digital moving images in public spaces In this paper, I will explore creative practices which experimented with the projection of computer-generated images beyond their original setting, namely the computer monitor.
I will particularly emphasise and compare the purpose and reception of these practices in the period ss and today, as well as the role they have had in our perception of space. Her research interests range across a variety of areas, including modern and contemporary Italian culture, digital screen cultures, intermediality. Ha pubblicato il libro L'apocalisse postmoderna tra letteratura e cinema Le Lettere, , curato il volume Imaginary Films in Literature Rodopi, assieme a S. Ercolino, M.
Fusillo e L. Ha pubblicato articoli e saggi su cinema e letteratura, sul digital storytelling e i nuovi media.
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Collabora con diversi FilmFest e WebFest. Di prossima uscita il volume co-curato con Silvia Antosa, Sex t ualities. Morfologie del corpo tra visioni e narrazioni Mimesis, Chair: Colleen M. In Italy the series is available on TimVision and, similarly to the American context, followed by large audience.
Francesca is currently working a new edited collection on women and food in Italian literature, cinema and other forms of visual arts. Sordi, Comedy Italian Style Springer, Such perceptions of aging may result from the generally limited presence of senesce onscreen. A monograph-length study on the topic of senescence in Italian cinema has yet to be carried out. Scholarship is limited in scope and follows a decidedly gendered division. Working towards the closure of this lacuna, this paper proposes five avenues for future research on aging in Italian film studies: 1. The synecdocal relation of the national Italian body and onscreen representations of death and decline in old age; 2.
Sexuality in the silver years; 4. Tradition, transition, and generational conflict; and 5. More meaningful images of old age. Lisa works primarily on contemporary Italian cinema and culture, and is particularly interested in the topics of migration, aging, and masculinity.
Her refereed journal articles interrogate the fluid sexual and racial identities of migrant protagonists onscreen. Along with preparing a monograph for publication, tentatively titled Screening Sterile Masculinity: On Male Migrants, Italian Men, and the Future of Italy , she is working on a project that investigates representations of aging in Italian cinema. Critics praise his work for its subtle intertextual ramifications, its original editing, its combination of a distant, burlesque and intimistic tone Curnier At first sight, Tableau avec chutes mainly portrays different sites and types of footage related to immigration showing how migrants can reconnect to their roots.
Her main area of research is Italian border literature. Her most recent research interests focus on trauma literature, cultural memory and Jewish-Italian literature Liana Millu, Giuliana Tedeschi, Luciana Nissim, Aldo Zargani and on the new Italian documentary of the Italian diaspora. Rivista europea di studi italiani. From the late s to the early s, the contribution of Italian filmmakers to the development of South American cinema was monumental. Three countries that specifically benefited from the contribution of Italian filmmakers were Brazil, Argentina, and Colombia.
Moreover, little is known about the contribution of Italian artists to Colombia's silent cinema in which Italian filmmakers have had the biggest involvement. The objective of this presentation is to enrich Italy's filmography by introducing all the Italians artists known to date who significantly influenced the foundation of Colombia's national cinema. Currently, Camilo is conducting research on Colombian silent cinema for his Ph. Ancora oggi, l'attenzione su questa presunta dicotomia rimane non priva di discussioni. We intend migration primarily as the movement of people across national borders, as it is represented in film and media, but also the movement of performers, directors, and scripts across different movie industries.
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Moreover, the maternal bodies represented on the screen interacted with off-screen images of the divas circulating on the magazines of the time, often represented within domestic and family environments, which contribute to define the social meaning of the stars as "mediated texts" and to narrate specific iconographies of the maternal. Drawing upon the interdisciplinary theoretical basis of stardom studies and gender studies, this paper seeks to historicize specific discourses on female divismo and transnational motherhood in postwar Italian and Hollywood cinema.
She has written widely on film genres and gender representation is postwar Italian cinema and is the author of Ercole, il divo AIEP, She was also co-editor of Italian Motherhood on Screen Palgrave, with Giovanna Faleschini-Lerner and is currently working on motherhood and media representantions. I argue that these encounters not only illustrate the role played by Italian cinema within current migration discourses in Italy and Europe, but also help us reflect on the posts Southern Italian folk music and dance revival as a promoter of social change through grassroots and locally-engaged efforts.
Indeed, the current Southern Italian folk music and dance revival has encouraged a re-thinking of Southern Italian identity from a postcolonial perspective and as part of a larger, Mediterranean identity. Originally from Benin, Ibi had started recording her life in Italy through photography and videography, which allowed her to share her experience of displacement with her children and her mother in Africa, where--as an undocumented immigrant--she could not hope to return without risking permanent deportation. Photography was also her business--she worked as a wedding and event photographer and videographer within the African communities of Castel Volturno, as well as for the Cultural Center where the Movement for Migrants and Refugees of Caserta met.
When she died in , Segre decided to tell her story through her images, thus producing the first film almost entirely based on visual self-narration by a migrant woman. This paper analyzes both the film techniques and strategies that Segre adopts to integrate archival materials, photos, and other footage and create an innovative and original filmic narration that moves away from more traditional realist—and often objectifying—narratives of female migration.
She is currently at work on a book-length project on the Italian cinema of migration. Access to the Internet and social media has been a necessary condition for this growth. What has that role been? The topic is controversial: should the media give a platform to the ultra-right and, if so, how? Or should they ignore it, thus taking the chance of reinforcing the accusation of being elitist and aloof?
My research addresses this on-going debate by presenting a comparative and historical analysis of media coverage in the United Kingdom and Italy. It implements quantitative measurements of content analysis as well as qualitative methodologies for in-depth investigation. In she won a prestigious Marie S. Curie Experienced Fellowship to study ultra-right media and communication at the University of Loughborough, with a Secondment at the Scuola Normale Superiore of Florence.
Her publications have appeared on numerous international peer-reviewed journals such as The International Journal of Communication , The Journal of Language and Politics , Discourse and Communication , Television and New Media , among others. This presentation will discuss the role of digital technologies in promoting and marketing the Made in Italy as well as in contrasting the widespread phenomenon of counterfeiting of Italian food known as Italian sounding, which refers to the marketing of food and beverages produced worldwide and labeled with Italian names and misleading words and images.
Patrizia La Trecchia received her Ph. Her research includes film, media, globalization, migration, citizenship, the Italian South, digital food culture, ecocinema, sustainable food movement, food security, and food waste. She is a TED speaker on food waste. Although metoo was born in the United States, women in different places were met with different socio-political responses. Her decision to leave added another layer to the public debate, bringing in the question of migration. Recent allegations of Argento sexually abusing a younger actor further complicate things. Beginning with Argento and moving to a broader socio-cultural analysis, this paper will look at how the metoo conversation has been deployed in the Italian context, and the uneasy way feminist and nationalist discourses overlap.
Her research and publications focus on questions of gender, race, migration, textuality and social activism. She is a co-founder of the Asterisk taskforce for inclusive pedagogy, and a translator of fiction and journalism; recent pieces include works by Italian authors Dacia Maraini and Laila Wadia, as well as English-language articles about gender and politics in the United States. She is currently translating a text on digital technology and gender, and co-editing a volume on queer Italian media. Risale a questo periodo la fondazione di Camera Woman con altre compagne.
Inoltre, con la Kitchenfilm ho aperto dal il filone della distribuzione, ennesima sfida al mercato agonizzante con piccoli gioielli pluripremiati. Allieva di Vattimo e Rondolino, ha approcciato il tema del cinema sperimentale antenato del docu-fiction attraverso le analisi di Bachtin e Genette.
This quality, already pronounced in Corpo celeste , grows exponentially in Le Meraviglie and particularly in Lazzaro felice , where the border between social drama and magical realism becomes blurred, turning the films young protagonists into messianic, redemptive figures, thereby making them symbols of moral resistance.
Her research focuses on the relationship between religion and film, Italian cinema, American cinema, films reception and practices of censorship. Since , she has been acting as peer reviewer for the Journal of Religion and Film and Westminster Papers in Communication and Culture. She has collaborated with the British Film Institute and the Barbican introducing screenings of the work of Italian directors.
It seems too convenient. My dialectic is no more ternary but binary. There are only irreconcilable positions. There can be no existence without contradiction, no action without dialectical conflict. There is no synthesis, no self-consciousness, no moving beyond the dialectical opposition because the position is irreconcilable. His work centers on the relationship between avant garde film and video and mass culture.
Davi Pessoa C. Autore di Terza sponda: testimonio, traduzione , Dante: poeta di tutta la vita Attualmente sta traducendo il Petrolio , di Pasolini. Maturati entro una stessa cornice teorica, i due interventi si divaricano nel prediligere rispettivamente gli scenari del tragico e quelli del comico. Her research interests include modern and postmodern Italian literature, critical and theoretical intersections between literature and cinema, and cinematic screenplays as a literary genre.
Her publications include I romanzi in vetrina dal barbiere. She became a maternal figure and his artistic muse. With her constantly at his side, I argue, Federico could continue to dream and pursue figuratively and literally the erotic femme fatales. This appears clearly both in films where he directs her La strada , Le notti di Cabiria , Giulietta degli spriti and Ginger and Fred , as well as in those without her.
He started writing down and illustrating his dreams after the encounter with Jungian psychoanalyst Ernst Berhnard. She was Chair of the French and Italian Department from to She has just completed a book entitled Portrait of the Artist and His Mother. She received several university fellowships, two National Endowment for the Humanities fellowships, and three teaching awards. Contrarily, a popular Indian road melodrama Marutitha Hinglaj, resignifies the moral narrative in La Strada , pitting an eccentric individual against hegemonic faith.
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Her interests lie in the fields of cinema, gender, and Postcolonial Studies. Based on research funded by the Fulbright Foundation, she is currently working on two books: a monograph on women authors in the film industries of Pakistan, India, and Bangladesh, and a co-edited scholarly volume on cross-border cinemas in South Asia. Her articles have appeared in such journals as Screen and Diacritics , and other scholarly venues. Besides paying attention to the evolution of her acting style, he argued that the comparison between Masina and Charlot was facile.
Scripted by Fellini, directed by Eduardo De Filippo, scored by Nino Rota and set in Rome, this film was highly praised by Bazin right before he died of leukemia. Starring Alberto Sordi and Paul Douglas Fleischer, Fortunella stands out as a treasure trove of insights about the role of women in society and the importance of imagination in the history of Italian cinema. The purpose of my paper is to do justice to this little-known and valuable film in historiographical and aesthetic terms. Si occupa di critica cinematografica e letteraria e ha curato programmi radiofonici e televisivi.
Flavia Brizio-Skov is Professor of Italian at the University of Tennessee where she teaches modern literature and cinema. She has written numerous articles that appeared in Italian, American, French, Spanish and Portuguese journals. She has published the book La scrittura e la memoria: Lalla Romano Selene Edizioni, , the critical monograph Antonio Tabucchi: navigazioni in un universo narrativ Pellegrini Editore, , and has edited a collection of articles entitled Reconstructing Societies in the Aftermath of War: Memory, Identity, and Reconciliation Bordighera Press, This is a series written by Pif, directed by Luca Ribuoli, produced and broadcast by RAI and based on the homonym film, also directed by Pif.
The series is set mainly in Palermo, and various cultural heritage sites are shown, as well as typical cuisine products or popular suburban boroughs as Mondello. Some episodes are also set in various locations of the province as Partinico, Isola delle Femmine, and Ficuzza. In what way does this TV series alter and change the discourse on the representation of crime in the Italian context?
Her research interests are popular culture and crime fiction. She is the co-editor with Marco Paoli of a special issue dedicated to the Italian film noir that will be published with Studies in European Cinema in Yet while recent scholarship has seized upon the cultural implications of this phenomenon, the extent to which costuming is integral to these series has yet to be explored.
Secondly, I look at how costuming is integrated into a larger aesthetic framework, including set design and soundtrack, to become a visual metaphor for organized crime and its relationship to contemporary Italian society. In the film, Thierno is a young tailor who decides to leave his native country and move to Rome to pursue his dream of becoming a fashion designer.
The film offers several reflections on questions that concern integration and assimilation, while addressing a multifaceted discourse on identity through fashion. Garments become a narrative tool and a performative ethical act. Colors, shapes, and patterns acquire a specific meaning and purpose and, by creating a connection between the fabrics that the people in the African village dye, manufacture, and wear with the hardships the protagonist has to face in his daily life, the director discloses the constant negotiations between the two cultures.
She earned a Ph. With this panel we explore the methodological challenges in the study of such performances, considering in particular the ways in which associated discourses of risk and responsibility are mediated by the industry and the press, and how these might be inflected differently by questions of gender, class, regional and ethnic identity. In the films she examines, including Cloro Sanfelice, , Bellas mariposas Mereu, , Indivisibili De Angelis, , the girl becomes the affective conductor for the human relationship with capital, a liquid, deeply uncertain one. She puts this idea in dialogue with work by Eva Hayward on the ideologies of aquarium display, showing how these underwater portrayals of girlhood inflect performance in contemporary Italian cinema.
She has written widely on gender representation in postwar Italian cinema, and has recently published Italys Other Women: Gender and prostitution in postwar Italian cinema, Peter Lang, In particular, her presentation engages with the difficult negotiations and performances of feminine adolescence Driscoll as these performances relate to the productions desire for a representation of an authentic experience of youth. Both films protagonists have been compared to Enzo Staiola in Ladri di biciclette De Sica, , the iconic face of neorealism.
Seeing the child as heir to neorealism and a notional witness to the ongoing migration crisis in Southern Italy is one way of reading these films. However, looking more closely at the figure of the child as non-professional actor, and the mechanics of performance, can open the broader ideological function of the Italian child in these narratives.
The chair and panelists of this session here included will present from the upcoming volume, Screening Sicily , edited by Giovanna Summerfield and published to offset the near-absence of scholarship that focuses on the relationship between the Mediterranean gem and cinema. Elgin K. She holds a Ph. More recently, her research has geared toward narrative and technical aspects in Italian film and television series. Her research interests are in contemporary Italian literature and cinema, gender studies, motherhood studies, and Sicilian culture. Her publications focus primarily on gender and representations of the mafia in contemporary Italian cinema.
She is the author of Donne, mafia e cinema: una prospettiva interdisciplinare Longo Editore, It examines films and television series branding artists directors, actors, writers to gain international scope, while storytelling national political crisis, scandals, and intrigues. Assessing media products from a variety of approaches, including discourse and reception analyses, panelists investigate the relationship between masculinity and politics in Italian media at a crucial juncture in both national and global histories. Her research interests focus on Italian cinema, including documentary, film theory and history, gender studies, and feminist and postfeminist theories.
Young Salvo, on the other hand, arrives at a finer appreciation of the force of law a ritroso. Publications include essays on serial television in Italy and North America. Her publications include articles on film and theater in the years of lead s , coming-of-age film, and auteur cinema, and two pedagogical volumes. With Ellen Nerenberg, she is co-author of the collaborative project entitled Winx Nation: educare la futura consumista.
Accusations of style over substance persist, although arguably, in Sorrentino, they are two sides of the same coin. On the other hand, Sorrentino seems to be invested in his own brand of political impegno for a postmodern, post-millennial era see Antonello and Mussgnug, , complicating any easy interpretation of his often parodic portrayal of political conflicts, gender issues and masculine identity crises.
As allegorical tales, Sorrentinos films are the depiction of the moral degradation of a society physically and mentally consumed by the pursuit for power.