Synopses & Reviews
Sandatilde;o Paulo is the largest city in South America and the powerhouse of Brazilandrsquo;s economy. A multi-racial metropolis with a diverse population of Asian, Arabic, and European immigrants as well as migrants from other parts of Brazil, it is a global city with international reach. Films set in Sandatilde;o Paulo often replace the postcard images of beautiful tropical beaches and laidback lifestyles with working environments and the search for better opportunities. Bikinis and flip flops give way to urban subcultures, sport, entertainment, and artistic movements. The ability to transcend national boundaries, and its resistance to stereotypical images of an andldquo;exoticandrdquo; Brazil, make Sandatilde;o Paulo a fascinating location in which to explore Brazilandrsquo;s changing economic and cultural landscapes.and#160;
The first comprehensive guide to filmic representations of Sandatilde;o Paulo, this book serves as an introduction to the city for film enthusiasts, visitors, and tourists while simultaneously opening scholarly debates on global concerns such as marginalization, rapid urbanization, and child poverty.
Review
'This volume really does represent a shift in thinking on Italian cinema, and the many fine, young scholars who contribute to this book show the direction that future criticism of Italian film will take. It is a valuable contribution to cinema studies on many levels, and I was delighted to have read it.'
- Peter Bondanella, Distinguished Professor Emeritus of Comparative Literature, Film Studies and Italian, Indiana University, USA
Synopsis
From the origins of the silent feature film and the creation of the star system, Italy has been at the forefront of the development of cinema as a mass phenomenon. Popular Italian genre films were among the most internationally successful Italian films ever, inundating the cinemas of Latin America and the Middle East as well as serving as B-movies in theatres across the United Kingdom and America. Cinema played a central role in Italian life, promoting Italian fashion and music and forming a key concern politically. Yet Italian cinema, like that of other European countries, is best known academically as a source of films for the international arthouse circuit. This book seeks to reassess this imbalance by bringing together some of the most innovative and distinguished scholarship in the field for a comprehensive examination of how 'the popular' works in Italian cinema, from opera to the missionary film to sex comedies.
Synopsis
Exciting new critical perspectives on popular Italian cinema including melodrama, poliziesco, the mondo film, the sex comedy, missionary cinema and the musical. The book interrogates the very meaning of popular cinema in Italy to give a sense of its complexity and specificity in Italian cinema, from early to contemporary cinema.
About the Author
LOUIS BAYMAN lectures in film studies at King's College, London. He has recently finished his PhD At the confines of life and theatre': Melodrama in post-war Italian cinema'. His main research interests are Italian cinema, film aesthetics and popular culture. His publications include 'Melodrama as Realism in Italian Neorealism' in
Realism and the Audio-Visual Media (Nagib and Mello: Palgrave, 2009). He is editor of and contributor to
Directory of World Cinema: Italy (Intellect, Bristol, 2011).
SERGIO RIGOLETTO is a Teaching Fellow in Italian at the University of Reading where he completed his PhD with a thesis entitled 'The Politics of Masculinity: Male Subjectivity and Social Conflict in Italian Cinema of the 1970s'. His research investigates the presence of spaces of subcultural resistance in mainstream cinema and on television with a particular focus on questions of gender and sexuality. He has published articles on Ferzan Ozpetek, Pier Paolo Pasolini and Commedia all'italiana in a number of international journals.
Table of Contents
Acknowledgements
Introduction
Sand#227;o Paulo: City of the Imagination
and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160; Reinaldo Cardenuto
Sand#227;o Paulo on the Big Screen: Cinematic [Post] Modernity
and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160; Alfredo Suppia
Maps of Scenes 1-8: 1929-1981
Paulista Film Industry: An Overview
and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160; Fand#225;bio Uchand#244;a
Map of Scenes 9-15: 1981-2002
Cinema Marginal
and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160; Daniel Serravalle de Sand#225;
Map of Scenes 16-22: 2002-2005
The City of Sand#227;o Paulo as Depicted in Tata Amaraland#8217;s Movies
and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160; Marcia Carvalho
Map of Scenes 23-29: 2006-2007
The Geography of Segregation: Violence and Class Division in Contemporary Sand#227;o Paulo Cinema
and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160; Tiago de Luca
Map of Scenes 30-36: 2007-2008
Transnational Minhocand#227;o: The Emblematic Highway
and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160; Natand#225;lia Pinazza
Map of Scenes 37-43: 2008-2012
Resources
Contributor Bios
Filmography