This feminist anthology from Italy offers an enriching perspective on cinema studies. Focusing on women’s engagement with political theory and film-making, the book never loses sight of the female experience of cinema. It examines how women have chosen to represent themselves and how they have been represented, and how they deal with the cinematic apparatus, as subjects of production, objects of representation, and spectators. A variety of approaches are offered, ranging from psychoanalysis and semiology to history. With an exhaustive filmography, this anthology of chapters by eminent theorists demonstrates the central importance of recent developments in Italy for the whole spectrum of film and feminist studies.
Table of Contents
Foreword Laura Mulvey 1. Off Screen: An Introduction Giuliana Bruno and Maria Nadotti Part 1: The ‘150 Hours’ 2. Editors’ Introduction Giuliana Bruno and Maria Nadotti 3. Women’s Cinema: A Look at Female Identity Paola Melchiori 4. Conditions of Illusion Giulia Alberti 5. Ecstasy, Coldness, and the Sadness which is Freedom Lea Melandri 6. Introduction to the Script of the Film Scuola Senza Fine Adriana Monti 7. Script of the Film Scuola Senza Fine 8. On the Margins of Feminist Discourse: The Experience of the ‘150 Hours Courses’ Giuliana Bruno and Maria Nadotti Part 2: Criticism: Theory/Practice 9. Female Identity and Italian Cinema of the 1950s Giovanna Grignaffini 10. The Accessibility of the Text: An Analysis of The Lady from Shanghai Lucilla Albano 11. Language and the Female Subject Patrizia Violi Part 3: Film Production 12. An Affectionate and Irreverent Account of Eighty Years of Women’s Cinema in Italy Annabella Miscuglio 13. Filmography: Women in Film in Italy Giuliana Bruno and Maria Nadotti