Presentation on theme: "Fabio Rossi Università di Messina Erasmus IP: IRIC Limmagine riflessa, limmagine costruita La Sicilia nei media."— Presentation transcript:
Fabio Rossi Università di Messina (email@example.com)firstname.lastname@example.org Erasmus IP: IRIC Limmagine riflessa, limmagine costruita La Sicilia nei media Elementi di storia del cinema internazionale
Bondanella, Peter 2004: Hollywood Italians. Dagos, Palookas, Romeos, Wise Guys, and Sopranos. New York etc.: Continuum
The Black Hand: True Story of a Recent Occurrence in the Italian Quarter of New York, 1906, Wallace McCutcheon
Casella, Paola 1998: Hollywood Italian. Gli italiani nellAmerica di celluloide, Milano: Baldini & Castoldi American movies which portray Italian community, or describe Italian characters, are so numerous that they form an individual cinematographic genre (Casella 1998:15)
The Italian character in the yankee cinema is still quite often connected to the four Ms stereotype: Mafia, Mother, Maccheroni and Mandolin (Casella 1998:15) The Hollywood Italian gesticulates crazily and speaks loudly, adores pasta and his mother, maltreats all other women and he is genetically in tune; if he is not a criminal himself, he has at least some relatives inside the Mafia; he cries very often and is racist, vulgar, tasteless in dressing, irascible and violent (Casella 1998: 15)
Pippa Passes; or, The Song of Conscience, 1909, David W. Griffith The Italian, 1915, Thomas H. Ince and C. Gardner Sullivan My Cousin, 1918, Edward José Cobra, 1925, Joseph Henabery
The Godfather, Part Two, 1974, Francis Ford Coppola
The Godfather, Part Three, 1990, Francis Ford Coppola How can we let a criminal like that run our company! Hes got the map of Sicily on his face! Cant you see? [...] Hes either a catholic or a mafioso!
I dont like your kind of people. I dont like to see you come out to this clean country, in oily hair, and dressed up in those silk suits, and try to pass yourselves off as decent Americans. Ill do business with you, but the fact is that I despise your masquerade, the dishonest way you pose yourselves. You and your whole fucking family. (Michael answers to him:) Senator, we are both part of the same hypocrisy. But never think it applies to my family
Who is two times himself is also two times stranger (Bettini, Maurizio (ed.) 1992: Lo straniero ovvero lidentità culturale a confronto, Roma etc.: Laterza: 6)
I always wanted to use the Mafia as a metaphor for America [...]. I feel that Mafia is an incredible metaphor for this country. Both are totally capitalistic phenomena and basically have a profit motive (Coppola in Bondanella 2004: 239-240)
Big Night, 1996, Stanley Tucci and Campbell Scott Filippo Ottoni: because Calabrian- Sicilian dialect on the screen is felt by now to be connected irreparably to the Mafia (Casella 1998: 454)
Moonstruck, 1987, Norman Jewson Ciao, bello! Buonanotte! Ti amo!
How long do I have to wait? Quanto io devo aspettare? Johnny, figghiu miu, veni cca, veni cca! Angora aju aspettari? Dont stand directly under the sun. Youve got a hat. Use your hat Finalmente, che brutta, signora! Ah, finalmente, che brutto questo grigio!
I couldnt speak nothing in English exept of love Rimasi ammutolita fin dopo la notte del matrimonio. E dopo dissi soltanto amore
Serafina: Because you dont study no civics, tonight. Rosa: Dont study no civics. Why do you talk like you just came over in steerage. This isnt Sicily, mother, and you are not a baroness. You do sewing Serafina: Perché sai di giurare il falso. E questo ti porta male. Rosa: Ti porta male, ti porta male. Ti è rimasta la mentalità di una contadina siciliana. Quante storie, mamma! Tu non sei una baronessa. Sai solo cucire
Mambo italiano, 2003, Émile Gaudreault Youre the classic self- hating Italian Being gay and Italian is a fate worse than... actually there is no fate worse than being gay and Italian Nino Paventi: Howd you get in here? The door was locked, the alarm system was on... Lina Paventi: Nino, Im SicilianNino PaventiLina Paventi
Its a cultural thing: us Italians we leave the house either two ways. Married or dead Things change. Family doesnt Its not a democracy, its a family Its BIGGER... Its FATTER... Its not GREEK... and therell only be a wedding over mamas dead body! Very fanny... riotous... like my big fat gay Italian wedding The slap: the end to the quintessential Italian melodrama All hell breaks loose (Italian style of course!) and the battle lines are drawn as tutta la familglia goes to war
Director: Giuseppe Tornatore Actress: Monica Bellucci Music: Ennio Morricone
elegance worship of beauty and good taste tendency towards the arts determination to work religious bigotry irrational traditionalism difficulty of linguistic and cultural adaptation machismo and cult of the family extreme elasticity concerning civic and moral behavior bad taste in dressing and rough habits unseemly gesticulations speaking too loudly no respect of social conventions
sciumi fiume scantari fare paura sparagnari lasciare
La Sicilia offre la rappresentazione di tanti problemi, di tante contraddizioni, non solo italiani ma anche europei, al punto da poter costituire la metafora del mondo odierno (Leonardo Sciascia, La Sicilia come metafora. Intervista con Marcelle Padovani, Milano, Arnoldo Mondadori, 1989 [I ed. 1979], p. 78)