italian-studies: Scholarly discussions in any field of Italian studies
this is just a quick note to confirm that you are in the programme for the
conference. Please see attachment for the programme. Please note that the
conference will take place now on one and a half days (fri 21 and sat 22
November).More details to follow.
best wishes
stephen
<<ASMI CONFERENCE 2003.doc>>
> ----------
> From: Pauline Small[SMTP:[log in to unmask]]
> Reply To: Scholarly discussions in any field of Italian studies
> Sent: 09 June 2003 18:31
> To: [log in to unmask]
> Subject: Re: [I-S] CALL FOR PAPERS: ASSASSINATIONS AND MURDERS
>
> italian-studies: Scholarly discussions in any field of Italian studies
>
> Dear Steven
> I have missed the deadline, but I hope you may still be able to
> consider a proposal from me. I will set it out briefly, but if you
> tell me I am out of time, then I can't argue!
> I would like to present a paper entitled 'Cadaveri non eccellenti in
> the cinema of the 90s'.
> This would consist of a comparative study of the incidence and
> representation of murders in the films of Gianni Amelio and Francesco
> Rosi. In Rosi's 'Cadaveri eccellenti' both the subject matter and the
> mise-en-scene offer a series of elaborately staged deaths of high-
> ranking officials (in this film judges, in other Rosi films
> the focus is on leading national figures such as Mattei). There is
> much evidence of the noir style and the cinematic thriller genre
> found in Hollywood and French cinema traditions. Amelio, on
> the other hand, offers often anonymous deaths presented with visuals
> of understated, almost brutal realism (death of the young terrorist
> in 'Colpire al cuore', the murder of a fellow southerner by one of
> the Scordia brothers in 'Cosi ridevano') These differing
> characterstics of their film-work follow invoke the discourse
> of a pattern similar to that identified in Lukacs's discussion of the
> historical novel: Rosi shows the fate of those of high status
> ('above') while Amelio offers a focus on those 'below'. While Rosi
> offers the death of figures that make the news, Amelio makes clear
> that the deaths he depicts will
> pass almost unnoticed. Rosi's is surely the richer cinema in that his
> multi-layered work encompasses the various social levels on which the
> corruption he exposes makes impact (the citizens of the towns where
> the judges are killed, the ex-criminals, the life of the bourgeois
> pharmacist, and of the ex-criminals investiagted again as possible
> suspects). Amelio's cinema consistently shows an interest in the
> marginalised, on those whose fate will not make headlines. But both
> directors share an intense sense of moral injustice: ultimately
> 'death' in their films is the death of a democracy. For Rosi, the
> corruption that pervades Italian society is manifested in the fate of
> those who involved in the system of justice. For Amelio it is
> conveyed in a kind of cinema where the resonances of the anonymous and
> insignificant deaths are left for the audience to pick up. Both
> directors carry in their work the tradition of cinema as a vehicle of
> heightening social awareness. Their differing styles may be
> attributed to their different qualities as auteurs but also to a
> changed cultural climate. Amelio's cinema, less declamatory in style,
> surely also picks up on a climate of politcal and moral ambiguity
> that characterises the discourse of late 20th century public and
> private spheres. Let me know what you think!
> best wishes, Pauline
>
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