By Mary Ann McDonald Carolan
Tracks the impact of Italian cinema on American movie from the postwar interval to the present.
In The Transatlantic Gaze, Mary Ann McDonald Carolan records the sustained and profound creative impression of Italian administrators, actors, and screenwriters on American movie. operating throughout numerous genres, together with neorealism, comedy, the Western, and the paintings movie, Carolan explores how and why American administrators from Woody Allen to Quentin Tarantino have tailored convinced Italian trademark options and motifs. Allen’s To Rome with Love (2012), for instance, is an homage to the genius of Italian filmmakers, and to Federico Fellini particularly, whose Lo sceicco bianco/The White Sheik (1952) additionally resonates with Allen’s The red Rose of Cairo (1985) in addition to with Neil LaBute’s Nurse Betty (2000). Tarantino’s Kill Bill saga (2003, 2004) performs off components of Sergio Leone’s spaghetti Western C’era una volta il West/Once Upon a Time within the West (1968), a transatlantic dialog concerning the Western that keeps in Tarantino’s Oscar-winning Django Unchained (2012). Lee Daniels’s Precious (2009) and Spike Lee’s Miracle at St. Anna (2008), in the meantime, display that the neorealism of Roberto Rossellini and Vittorio De Sica, which arose from the political and fiscal exigencies of postwar Italy, is an efficient automobile for critiquing social concerns corresponding to poverty and racism in a modern American context. The publication concludes with an exam of yankee remakes of renowned Italian motion pictures, a comparability that provides perception into the similarities and modifications among the 2 cultures and the alterations in style, either refined and noticeable, that underlie this way of cross-cultural exchange.
“…insightful … In precise readings and comparisons, and thank you partly to the well-chosen quotations that she meticulously analyzes, Carolan is masterful in acknowledging the large effect that the Italian filmmakers have had on their American counterparts.” — CHOICE
“…Carolan has written an astutely centred textual content on a universally said topic, yet one who is never lined nowadays, even in academia … this publication is an first-class reference for students and will offer motion picture buffs or Italophiles with a wealth of movie trivia.” — San Francisco e-book Review
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Extra resources for The Transatlantic Gaze: Italian Cinema, American Film
Anna, 2008). We conclude by evaluating the growing phenomenon of the American remake of popular Italian films. Recent examples of this trend include L’ultimo bacio (Muccino, 2001)/ The Last Kiss (Goldwyn, 2006), Stanno tutti bene (Tornatore, 1990)/ Everybody’s Fine (Jones, 2009), and 8½ (Fellini, 1963)/Nine (Marshall, 2009). These essays, essentially comparative in nature, shed light on the profound impact that Italian film has had on American cinema while underscoring the obvious and subtle differences that distinguish these two film cultures.
David Ravell (Greg Kinnear) in Nurse Betty. 36 / The Transatlantic Gaze sexual harassment in an attempt to advance her beau Lonnie’s medical career. Refusing her advances, David tells Chloe, “There’s really something special out there for me,” a refrain that Betty will come to appropriate. Frames of reference collide as Betty tells her friend Roy the reporter in the aftermath that she “saw the whole thing; it was really disgusting,” referring here to her new reality, Chloe’s false claim of sexual harassment against David, and not to the murder in her living room.
On the set behind the screen in The Purple Rose of Cairo. spectacle as decidedly unglamorous. That film, cowritten with Alberto Lattuada, follows the fortunes of a troupe of vaudeville performers and its impresario as they face the vicissitudes of their trade, including poor wages, questionable lodging, and the vagaries of star attraction. Woody Allen’s characters in the film within the film, each of whom claims to be essential to the plot, remind viewers of the ensemble cast of Fellini’s Variety Lights, a dysfunctional group that quibbles about whose role is most important.