Cinema 4d R14 Italian Language Pack
Phyllis Sterlin
The Italian Language Film Series offers Ramapo students an opportunity to experience the innovations that Italian cinema has contributed to the art of movie-making, while also allowing students the option of fulfilling their CEC components. The series features iconic directors such as Frederico Fellini, Nanni Moretti, and Paolo Sorrentino. The series allows students to experience the Italian language through film, immersing them in a more visual and interactive method of learning that will aid their overall understanding of Italian.
The film series is run by Fulbright Scholar and visiting Italian Language Professor Giuseppe Sorrentino. For additional information, contact Mr. Sorrentino at gsor...@ramapo.edu or call 201-684-7408.
The Journal of Italian Cinema & Media Studies (JICMS) is a fully peer reviewed English language journal, which explores Italian cinema and media as sites of crossing, allowing critical discussion of the work of filmmakers, artists in the film industry and media professionals. The journal intends to revive a critical discussion on the auteurs, celebrate new directors and accented cinema, and examine Italy as a geo-cultural locus for contemporary debate on translocal cinema.
Journal of Italian Cinema & Media Studies is a fully peer-reviewed, English-language journal, which explores Italian cinema and media as sites of crossing, allowing critical discussion of the work of filmmakers, artists in the film industry and media professionals. The journal intends to revive a critical discussion on the auteurs, celebrate new directors and accented cinema and examine Italy as a geo-cultural locus for contemporary debate on translocal cinema.
Journal of Italian Cinema & Media Studies is an English-language forum for theoretical, methodological and critical debate on Italian film and media production, reception and consumption. It provides a platform for dialogue between academics, filmmakers, cinema and media professionals. This peer-reviewed journal invites submissions of scholarly articles relating to the artistic features, cultural themes, international influence and history of Italian film and media. Furthermore, the journal intends to revive a critical discussion on the auteurs, revisit the historiography of Italian cinema and celebrate the dynamic role played by new directors. The journal includes a book and film review section as well as notes on Italian film festivals abroad and international conference reports.
The profound transformation undergone by the rapidly expanding media environment under the impact of digital technology, has lead scholars in the field of media studies to elaborate new theoretical paradigms and methodological approaches to account for the complexities of a changing landscape of convergence and hybridization. The boundaries between cinema and media as art forms and fields of inquiry are increasingly hybridized too. Taking into account this evolving scenario, the JICMS provides an international arena for critical engagement with a wider range of issues related to the current media environment. The journal welcomes in particular contributions that discuss any aspects of Italian media production, distribution and consumption within national and transnational, social, political, economic and historical contexts.
The Editorial Board of the JICMS is pleased to announce a new listserv. The list provides a space for announcements (publications, events, news, CFPs) and a forum for the scholarly discussion and debate of issues pertaining to the cinema and media (television, radio, digital, etc.) in Italy, including in its transnational and transmedia dimensions.
All articles undergo initial editorial screening either by the journal's Editorial Team and/or incumbent Guest Editors. Articles then undergo a rigorous anonymous peer review by two referees, following the guidance in Intellect's 'Peer review instructions'. Based on this feedback, the Editors will communicate a decision and revision suggestions to authors. To appeal an editorial decision, please contact the main Editor who will consider your case.
JICMS is an English-language forum for theoretical, methodological and critical debate on Italian film and media production, reception and consumption. It provides a platform for dialogue between academics, filmmakers and cinema and media professionals. This peer-reviewed journal invites submissions of scholarly articles relating to the artistic features, cultural themes, international influence and history of Italian film and media. Furthermore, the journal intends to revive a critical discussion on the auteurs, revisit the historiography of Italian cinema and celebrate the dynamic role played by new directors. The journal includes a book and film review section as well as notes on Italian film festivals abroad and international conference reports.
The profound transformation undergone by the rapidly expanding media environment under the impact of digital technology has lead scholars in the field of media studies to elaborate new theoretical paradigms and methodological approaches to account for the complexities of a changing landscape of convergence and hybridization. The boundaries between cinema and media as art forms and fields of inquiry are increasingly hybridized too. Taking into account this evolving scenario, JICMS provides an international arena for critical engagement with a wider range of issues related to the current media environment. The journal welcomes in particular contributions that discuss any aspect of Italian media production, distribution and consumption within national and transnational, social, political, economic and historical contexts.
Within the realm of a post-national and trans-cultural debate, the purpose of JICMS is to refer to Italy as the unifying site for a contemporary discussion on translocal cinema. The journal aims to elaborate a multifaceted definition of Italian cinema, transcending geo-ethnic land and sea borders and moving away from merely celebratory local cinematic experiences. Therefore, the journal also devotes attention to Italophone filmmakers and diasporic, accented or exilic cinema. JICMS is also interested in the artistic intersections between Italian and other international cinemas.
JICMS also invites submissions that examine experimental cinema, video art, short films, long/short feature and documentary animation, original and adapted screenplays, film music (songs and scores), issues of stardom and reception studies. The professional contributions of screenplay writers, art directors, cinematographers, film editors, costume designers and make-up artists are also potential subject areas for submissions.
Immediately after the Second World War, Italian cinema experienced a surge in popularity in the United States, notably with neorealist classics like Open City (Rossellini, 1945), Obsession (Visconti, 1943), Paisan (Rossellini, 1946) and Bicycle Thieves (De Sica, 1948). After that, Italian cinema witnessed a steady increase in its distribution in American theatres, reaching its zenith in the mid-1960s, enjoying both high success with the public and appreciation from critics. The Academy awarded four Oscars to Vittorio De Sica (Shoeshine, 1948; Bicycle Thieves, 1950; Yesterday, Today and Tomorrow, 1965, The Garden of the Finzi Contini, 1972) and four to Federico Fellini (La strada, 1957; The Nights of Cabiria, 1958; 8, 1964; Amarcord, 1975). The influence and popularity of Italian films extended well beyond auteur films, with historical and mythological epics, such as the Hercules saga (Hercules) (Francisci, 1957); Hercules Unchained (Francisci and Bava, 1959) which achieved flattering results. Although there was a slight decline following its hight (mid-1960s), Italian cinema maintained its relevance, with directors like Luchino Visconti, Michelangelo Antonioni, Sergio Leone and emerging talents such as Bernardo Bertolucci, Pier Paolo Pasolini, Lina Wertmller and Liliana Cavani. Furthermore, the impact of Italian cinema on American auteurs, including Sam Peckinpah, Quentin Tarantino, Woody Allen and Martin Scorsese, solidified its enduring legacy.
The fascinating history of Italian cinema in the United States has been primarily depicted in fragments through the professional biographies of key figures, such as producers (e.g., Dino De Laurentiis), distributors (e.g., Joseph E. Levine), directors (e.g., Sergio Leone) and performers (e.g., Sofia Loren). Critical reception of Italian films has been explored by some scholars, particularly focusing on neorealism films (Schoonover 2008) and subsequent auteurs, notably Antonioni, Fellini, Visconti and Leone (Garofalo 2023). Distribution strategy of Italian top-grossers has been illustrated by few contributions focused on art-house venues (Wilinski 2001, Segrave 2004, Balio 2010, McKenna 2016, Garofalo 2023). Preliminary investigations have also been conducted on the influence of these auteurs on emerging American filmmakers (McDonald Carolan 2013). However, what is lacking is an overarching framework that integrates the artistic and stylistic features with the socio-cultural and economic-industrial dimensions.
The special issue of the Journal of Italian Cinema & Media Studies aims to delve into the analysis of the circulation of Italian cinema in the United States from 1945 to 1975 with a more organic approach by covering both the economic as well as the artistic dimensions of the phenomenon. We aim to feature interdisciplinary contributions and draw upon a rich array of previously unpublished data sourced from archival materials, encompassing diplomatic, industrial, and banking records from Italy and the United States. Additionally, insights from sector-specific press in both countries will be seamlessly integrated. This comprehensive approach is designed to deliver a more professional and coherent examination of the distribution and reception of Italian cinema in the United States in the post-Second World War era.
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