David Forgacs – författare

This is an up-to-date, illustrated introduction to the study of modern Italian culture containing nineteen chapters by specialists in the field of language, politics, religious, ethnic, and gender identities, the mass media, cultural policy, and stars. Adopting a unique and accessible interdisciplinary focus, Italian Cultural Studies: An Introduction presents a variety of new perspectives on modern Italian culture. Each of the four parts explore diverse aspects of culture in Italy. 'Geographies' questions received notions of the Italian nation, the family, the 'South' and corruption; it also looks at anthropological approaches to culture and at Italy's linguistic pluralism. 'Identities' examines gender, religion, politics, and ethnicity as a means with which people define themselves and others. 'Media' explores the press, literature, television, and cinema. 'Culture and Society' brings together historical analyses of cultural policy, stars and style, and popular music. Each part is followed by sample analyses of visual materials and includes guidance in further reading. A chronology of political and cultural events since 1900 is also provided.Drawing on the expertise of leading authorities Italian Cultural Studies will be essential reading for anyone interested in modern Italy and its culture.

with a new introduction by ERIC J. HOBSBAWM "Very usefully pulls the key passages from Gramsci's writings into one volume, which allows English-language readers an overall view of his work. Particularly valuable are the connections it draws across his work and the insights which the introduction and glossary provide into the origin and development of some key Gramscian concepts." --Stuart Hall, Professor of Sociology, Open University The most complete one-volume collection of writings by one of the most fascinating thinkers in the history of Marxism, The Antonio Gramsci Reader fills the need for a broad and general introduction to this major figure. Antonio Gramsci was one of the most important theorists of class, culture, and the state since Karl Marx. In the U.S., where his writings were long unavailable, his stature has lately so increased that every serious student of Marxism, political theory, or modern Italian history must now read him. Imprisoned by the Fascists for much of his adult life, Gramsci wrote brilliantly on a broad range of subjects: from folklore to philosophy, popular culture to political strategy.Still the most comprehensive collection of Gramsci's writings available in English, it now features a new introduction by leading Marxist historian Eric Hobsbawm, in addition to its biographical introduction, informative introductions to each section, and glossary of key terms.

with a new introduction by ERIC J. HOBSBAWM "Very usefully pulls the key passages from Gramsci's writings into one volume, which allows English-language readers an overall view of his work. Particularly valuable are the connections it draws across his work and the insights which the introduction and glossary provide into the origin and development of some key Gramscian concepts." --Stuart Hall, Professor of Sociology, Open University The most complete one-volume collection of writings by one of the most fascinating thinkers in the history of Marxism, The Antonio Gramsci Reader fills the need for a broad and general introduction to this major figure. Antonio Gramsci was one of the most important theorists of class, culture, and the state since Karl Marx. In the U.S., where his writings were long unavailable, his stature has lately so increased that every serious student of Marxism, political theory, or modern Italian history must now read him. Imprisoned by the Fascists for much of his adult life, Gramsci wrote brilliantly on a broad range of subjects: from folklore to philosophy, popular culture to political strategy.Still the most comprehensive collection of Gramsci's writings available in English, it now features a new introduction by leading Marxist historian Eric Hobsbawm, in addition to its biographical introduction, informative introductions to each section, and glossary of key terms.

A master of modern European cinema and a key figure in the Italian neorealist movement, Roberto Rossellini had one of the longest and most varied careers of all major directors. From 'Rome Open City' and 'Paisà ' through to the 'Bergman' classics 'Stromboli 'and 'Journey to Italy' and his later work for television, Rossellini's work and ideas had a profound influence on filmmaking and criticism. This specially commissioned overview of Rossellini's works examines key issues and themes covering all phases of his career. Leading critics from across the world examine, among other issues, the Fascist context of Rossellini's early work, the view of Europe that emerges in his films, the stylistic trajectory of the work through neorealism and beyond and its influence on the French New Wave, the issues of representation that emerge in later films and his extensive work for television. The significance of Rossellini's relationships with Ingrid Bergman and Anna Magnani is discussed and the book also includes a dossier section of materials providing an overview of the most important facts and documents concerning the director.

Otto Preminger said the history of the cinema was divided into two eras: one before and one after Rome Open City (Roma Città Aperta, 1945). The film is based on events that took place in Rome in 1944, during the Nazi occupation. This book re-examines the film and its place in Rossellini's career. David Forgacs reconstructs its production history, its relationship to the events that inspired it and the time in which it was made. He argues that the traditional critical labelling of Rome Open City as the original work of neo-realism fails to capture the film's hybrid and contradictory character. Part documentary record, part patriotic myth, Rome Open City is at once an extraordinarily powerful commemoration of wartime experience and a rhetorical reworking of that experience, using stereotypes and moral polarisations.

Italy's Margins explores how certain places and social groups in Italy have been defined as marginal or peripheral since unification. This marginalization involves not only concrete policies but also ways of perceiving people and places as outside society's centre. The author looks closely at how photography and writing have supported political and social exclusion and, conversely, how they have been enlisted to challenge it. Five cases are examined: the peripheries of Italy's major cities after unification; its East African colonies in the 1930s; the less developed areas of its south in the 1950s; its psychiatric hospitals before the reforms of the late 1970s; and its 'nomad camps' after 2000. Each chapter takes its lead from a symptomatic photograph and is followed by other pictures and extracts from written texts. These allow the reader to examine how social marginalization is discursively performed by cultural products.

Italy's Margins explores how certain places and social groups in Italy have been defined as marginal or peripheral since unification. This marginalization involves not only concrete policies but also ways of perceiving people and places as outside society's centre. The author looks closely at how photography and writing have supported political and social exclusion and, conversely, how they have been enlisted to challenge it. Five cases are examined: the peripheries of Italy's major cities after unification; its East African colonies in the 1930s; the less developed areas of its south in the 1950s; its psychiatric hospitals before the reforms of the late 1970s; and its 'nomad camps' after 2000. Each chapter takes its lead from a symptomatic photograph and is followed by other pictures and extracts from written texts. These allow the reader to examine how social marginalization is discursively performed by cultural products.

Italy''s Margins explores how certain places and social groups in Italy have been defined as marginal or peripheral since unification. This marginalization involves not only concrete policies but also ways of perceiving people and places as outside society''s centre. The author looks closely at how photography and writing have supported political and social exclusion and, conversely, how they have been enlisted to challenge it. Five cases are examined: the peripheries of Italy''s major cities after unification; its East African colonies in the 1930s; the less developed areas of its south in the 1950s; its psychiatric hospitals before the reforms of the late 1970s; and its ''nomad camps'' after 2000. Each chapter takes its lead from a symptomatic photograph and is followed by other pictures and extracts from written texts. These allow the reader to examine how social marginalization is discursively performed by cultural products.

Italy''s Margins explores how certain places and social groups in Italy have been defined as marginal or peripheral since unification. This marginalization involves not only concrete policies but also ways of perceiving people and places as outside society''s centre. The author looks closely at how photography and writing have supported political and social exclusion and, conversely, how they have been enlisted to challenge it. Five cases are examined: the peripheries of Italy''s major cities after unification; its East African colonies in the 1930s; the less developed areas of its south in the 1950s; its psychiatric hospitals before the reforms of the late 1970s; and its ''nomad camps'' after 2000. Each chapter takes its lead from a symptomatic photograph and is followed by other pictures and extracts from written texts. These allow the reader to examine how social marginalization is discursively performed by cultural products.

A master of modern European cinema and a key figure in the Italian neorealist movement, Roberto Rossellini had one of the longest and most varied careers of all major directors. From ''Rome Open City'' and ''Paisà '' through to the ''Bergman'' classics ''Stromboli ''and ''Journey to Italy'' and his later work for television, Rossellini''s work and ideas had a profound influence on filmmaking and criticism. This specially commissioned overview of Rossellini''s works examines key issues and themes covering all phases of his career. Leading critics from across the world examine, among other issues, the Fascist context of Rossellini''s early work, the view of Europe that emerges in his films, the stylistic trajectory of the work through neorealism and beyond and its influence on the French New Wave, the issues of representation that emerge in later films and his extensive work for television. The significance of Rossellini''s relationships with Ingrid Bergman and Anna Magnani is discussed and the book also includes a dossier section of materials providing an overview of the most important facts and documents concerning the director.

A master of modern European cinema and a key figure in the Italian neorealist movement, Roberto Rossellini had one of the longest and most varied careers of all major directors. From ''Rome Open City'' and ''Paisà '' through to the ''Bergman'' classics ''Stromboli ''and ''Journey to Italy'' and his later work for television, Rossellini''s work and ideas had a profound influence on filmmaking and criticism. This specially commissioned overview of Rossellini''s works examines key issues and themes covering all phases of his career. Leading critics from across the world examine, among other issues, the Fascist context of Rossellini''s early work, the view of Europe that emerges in his films, the stylistic trajectory of the work through neorealism and beyond and its influence on the French New Wave, the issues of representation that emerge in later films and his extensive work for television. The significance of Rossellini''s relationships with Ingrid Bergman and Anna Magnani is discussed and the book also includes a dossier section of materials providing an overview of the most important facts and documents concerning the director.

Otto Preminger said the history of the cinema was divided into two eras: one before and one after Rome Open City (Roma Città Aperta, 1945). The film is based on events that took place in Rome in 1944, during the Nazi occupation. This book re-examines the film and its place in Rossellini''s career. David Forgacs reconstructs its production history, its relationship to the events that inspired it and the time in which it was made. He argues that the traditional critical labelling of Rome Open City as the original work of neo-realism fails to capture the film''s hybrid and contradictory character. Part documentary record, part patriotic myth, Rome Open City is at once an extraordinarily powerful commemoration of wartime experience and a rhetorical reworking of that experience, using stereotypes and moral polarisations.

Otto Preminger said the history of the cinema was divided into two eras: one before and one after Rome Open City (Roma Città Aperta, 1945). The film is based on events that took place in Rome in 1944, during the Nazi occupation. This book re-examines the film and its place in Rossellini''s career. David Forgacs reconstructs its production history, its relationship to the events that inspired it and the time in which it was made. He argues that the traditional critical labelling of Rome Open City as the original work of neo-realism fails to capture the film''s hybrid and contradictory character. Part documentary record, part patriotic myth, Rome Open City is at once an extraordinarily powerful commemoration of wartime experience and a rhetorical reworking of that experience, using stereotypes and moral polarisations.