Clodagh Brook - Böcker

Marco Bellocchio is one of Italy's most important and prolific directors, with a career spanning five decades. In this book, Clodagh J. Brook explores the boundaries between the public and the private, the political and the personal, and the collective and the individual as they appear in Bellocchio's films. Including work on psychoanalysis, politics, film production, autobiography, and the relationship between film tradition and contemporary culture, Marco Bellocchio touches on fundamental issues in film analysis.Brook's study interrogates what it means to make personal or anti-institutional art in a medium dominated by a late-capitalist industrial model of production. Her readings of Bellocchio's often enigmatic and perplexing work suggest new ways to answer questions about subjectivity, objectivity, and political commentary in modes of filmmaking. Relating the art of a private director to a public medium, Clodagh J. Brook's work is an important contribution to our understanding of film.

Marco Bellocchio is one of Italy's most important and prolific directors, with a career spanning five decades. In this book, Clodagh J. Brook explores the boundaries between the public and the private, the political and the personal, and the collective and the individual as they appear in Bellocchio's films. Including work on psychoanalysis, politics, film production, autobiography, and the relationship between film tradition and contemporary culture, Marco Bellocchio touches on fundamental issues in film analysis.Brook's study interrogates what it means to make personal or anti-institutional art in a medium dominated by a late-capitalist industrial model of production. Her readings of Bellocchio's often enigmatic and perplexing work suggest new ways to answer questions about subjectivity, objectivity, and political commentary in modes of filmmaking. Relating the art of a private director to a public medium, Clodagh J. Brook's work is an important contribution to our understanding of film.

Focussing on his term as Prime Minister from 2001-06, this scholarly volume provides the first assessment of how the neo-conservative values attributed to Berlusconi were contested and resisted by a variety of groups. The continuing influence of the controversial figure of Silvio Berlusconi on contemporary Italian life, culture and politics is beyond question. Focussing on his term as Prime Minister, this volume assesses how the neo-conservative values attributed to Berlusconi were contested and resisted by social/minority movements, intellectuals (radical and moderate) and media practitioners. Edited by members of the Centre for European Languages and Cultures at the University of Birmingham, and bringing together academics in Britain, Ireland, the US and Italy, it has an international perspective. Analysis investigates how resistance to the new conservative culture has been articulated, and how this has been expressed and explained by those involved.This interdisciplinary volume is divided into three (overlapping) areas: contemporary Italian politics (including the evolution of left and right, unions vs government; the G8 in Genoa and the anti-war movement); cultural texts (including films and documentaries, television programmes, novels and theatre; and experiences (the voices and practices of those who have opposed neo-conservative values from within the cultural industries and identity movements). Wide-ranging, innovative and challenging, this volume should appeal to all those who have an interest in Italy, in politics, in culture and cultural studies.

Edited by members of the Department of Italian Studies at the University of Birmingham, and bringing together academics in Britain, Ireland, the US and Italy, this volume takes an international perspective on Italian events. It investigates how resistance to the new conservative culture has been articulated, and how this has been expressed and explained by those involved. The volume is divided into four areas: 1. The Economic and Media Landscapes, which sets the scene for the rest of the book by explaining how Italian society, and particularly its media environment, have developed in recent years; 2. Political Challenges, which discusses the main threats to the authority and policies of Berlusconi coming from within his own centre-right coalition, the left and social movements; 3. Texts, which analyses films, internet sites, television programmes, novels, newspaper articles and theatre performances that sought to resist increasingly dominant conservative norms and/or respond to events set in motion by the Berlusconi governments; 4.Experiences, covering the voices and practices of those who have opposed Berlusconi from within the cultural industries and identity movements, such as journalists, LGBT activists, feminists and associations representing immigrant communities.Wide-ranging, innovative and challenging, this volume should appeal to all those who have an interest in Italy, political-, media- and cultural studies.

Religion has had been foundational in shaping Italy. Home to the Vatican State, the Italian peninsula is the religious centre for one billion Catholics globally. It is also increasingly home to those of other faiths, especially Islam. Italy’s development as a contemporary post-secular and multi-religious society is fraught and fascinating.The recent resurgence of religious discourse is a sign of what German philosopher, Jürgen Habermas, has defined as the post-secular condition. Habermas and others have questioned what most people in the West had, up to a few years ago, taken for granted: the unstoppable forward march of secularization and the subsequent marginalization of religion. Instead, one of the greatest global fault-lines in the contemporary world – the divide between absolutist, extremist Islamic faith and liberal, but Christian-inflected, secular values – has religious identity at its core. The first book-length study to examine religion in contemporary Italian cinema and television, Screening Religions in Italy spans genres such as horror, comedy, hagiopics, and TV fiction, and explores both commercial and art-house filmmaking. In a discussion of films and television series that range from Moretti’s Habemus Papam to Sorrentino’s The Young Pope, the author identifies two key issues: how Italian filmmaking constructs the continuing position of religion in the public sphere and why religion persists on Italian screens.