Italian Cinema Audiences

This book is a master class in exploring the historical culture of moviegoing in postwar Italy. Using an innovative suite of research methods drawn from the New Cinema History, and featuring fascinating ethnographic studies, the authors chart the vibrancy of film attendance as the cultural lynch-pin of Italy in the rapidly changing 1950s. They uncover the tensions pitting local against national and systems of film distribution, and gendered dialogues about differences and similarities between Italian and Hollywood star culture. The Italian Cinema Audiences project expertly demonstrates how post-war Italys diverse publics were drawn together into complex communities of entertainment, at a time when discussion of who was allowed to attend the movies was being negotiated and challenged across the nation. * Kathy Fuller-Seeley, William P. Hobby Centennial Professor of Media Studies, University of Texas at Austin, USA *

Daniela Treveri Gennari is Reader in Film Studies at Oxford Brookes University, UK, with a research interest in audiences, popular cinema, film exhibition and programming. Amongst her recent publications: the edited volume Rural Cinema Exhibition and Audiences in a Global Context (forthcoming 2018, with Catherine ORawe and Danielle Hipkins) Catherine ORawe is Reader in Modern Italian Culture at the University of Bristol, UK. She is the author of Stars and Masculinities in Contemporary Italian Cinema (2014), co-author (with Jacqueline Reich) of Divi: la mascolinit nel cinema italiano (2015), and has published widely on gender and stardom in Italian post-war and contemporary cinema. Danielle Hipkins is Associate Professor of Italian Studies and Film at the University of Exeter, UK. She has published widely on gender representation in postwar Italian cinema, and has recently written Italys Other Women: Gender and prostitution in postwar Italian cinema, 1940-1965 (2016) and co-edited Prostitution and Sex Work in Global Cinema: New takes on fallen women (2017). Silvia Dibeltulo is Senior Lecturer in Communication, Media and Culture at Oxford Brookes University, UK, where she previously worked on the AHRC-funded Italian Cinema Audiences project and the BA/Leverhulme-funded European Cinema Audiences project. Her publications the edited volume Rethinking Genre in Contemporary Global Cinema (forthcoming 2018, with Ciara Barrett). Sarah Culhane is currently a Research Fellow at Oxford Brookes University, UK, working on the Italian Cinema Audiences follow on project, ICAMAP (2017-2018). ICAMAP is an online archive that allows users to explore the history of cinema-going in 1950s Italy. Her publications include Street Cries and Street Fights: Anna Magnani, Sophia Loren and the popolana (The Italianist, 2017).

List of Figures List of Tables Acknowledgements Foreword by Professor Martin Barker Introduction Part I. THE ACTIVITY OF CINEMA-GOING 1. Cinemas, exhibition practices and topographical memories 2. Only entertainment?: memories inside and outside the cinema Part II. FILMS: GENRE, TASTE, AND POPULAR MEMORY 3. Audiences and film genre 4. 'Back then I believed in the nation - I don't anymore': re-visiting national film canon through audience memories Part III. GENDER AND CINEMA-GOING 5. A girls eye view of post-war Italian cinema 6. Beyond belle e brave: female stars and audiences 7. Narrative imaginings of masculinity through cinema Conclusions Appendix 1: Questionnaire Appendix 2: Video-Interview Appendix 3: List of Thematic Areas Bibliography Index