Personal and highly idiosyncratic visions of society, Fellini's films are a unique combination of memory, dreams, fantasy and desire. The titles are: The Little World of Don Camillo (1952), The Return of Don Camillo (1953), Don Camillo's Last Round (1955), Don Camillo: Monsignor (1961), and Don Camillo in Moscow (1965). Throughout the last few decades, Italian American representations have continued to become more diverse even as old stereotypes have been recycled. [7][8] The first Italian director is considered to be Vittorio Calcina, a collaborator of the Lumire Brothers, who filmed Pope Leo XIII on 26 February 1896 in the short film Sua Santit papa Leone XIII ("His Holiness Pope Leo XIII"). A new generation of directors has helped return Italian cinema to a healthy level since the end of the 1980s. Pine navigates situations suffused with secrecy, moral ambiguity, and fears of ruin that undermine the anthropologists sense of autonomy. The precursor of this way of understanding the director's profession was Francesco Rosi. Uomini sul fondo (1941) by Francesco De Robertis is also notable due to its almost documentary approach. [154], They acted in films certainly made in a short time and with few means, such as those shot with director Marcello Ciorciolini, sometimes even making a dozen films in a year, often without a real script and where they often improvised on the set. While Italy's Fascist government provided financial support for the nation's film industry, notably the construction of the Cinecitt studios (the largest film studio in Europe), it also engaged in censorship, and thus many Italian films produced in the late 1930s were propaganda films. Its hard to imagine a more mismatched pair of actors than Cher and Nicholas Cage, but they manage to have powerful chemistry in Moonstruck. After the first attempts in this direction, aimed above all at underlining the alleged link between the Risorgimento and Fascism (Villafranca by Forzano, 1933; 1860 by Blasetti, 1933), the trend reached its peak just before the war. Historical films such as Blasetti's 1860 (1934) and Carmine Gallone's Scipio Africanus: The Defeat of Hannibal (1937) were also popular during this period.[12]. The next films shot by the couple of actors, almost all comedies, were Two Missionaries (1974), Crime Busters (1977), Odds and Evens (1978), I'm for the Hippopotamus (1979), Who Finds a Friend Finds a Treasure (1981), Go for It (1983), Double Trouble (1984), Miami Supercops (1985) and Troublemakers (1994). [24] Not long before, in 1895, Filoteo Alberini patented his "kinetograph", a shooting and projecting device not unlike that of the Lumires brothers.[12][25]. In 1957, he staged the unusual proletarian drama Il Grido, with which he obtained critical acclaim. [37] Followed by Marin Faliero, Doge of Venice (1909), by Giuseppe De Liguoro, Otello (1909) by Yambo and L'Odissea (1911), by Bertolini, Padovan and De Liguoro. The best-known exponent of this genre is Mario Soldati, a long-time writer and director destined to establish himself with films of literary ancestry and solid formal structure. Gina Lollobrigida, Italian Movie Legend, Is Dead at 95 Known as "the most beautiful woman in the world," the European sex symbol went on to American movie stardom, later enjoying a second. The latter (accompanied by the incisive soundtrack by Ennio Morricone) is a dry psychoanalytic thriller centered on the aberrations of power, analyzed in a pathological key. Although Umberto D. is considered the end of the neorealist period, later films such as Federico Fellini's La Strada (1954) and De Sica's 1960 film Two Women (for which Sophia Loren won the Oscar for Best Actress) are grouped with the genre. With the release of 1958's Hercules, starring American bodybuilder Steve Reeves, the Italian film industry gained entree to the American film market. Seven thousand people were involved in the filming of the battle scene from Scipio Africanus, and live elephants were brought in as a part of the re-enactment of the Battle of Zama. It was a predecessor to, and had significant influence on, the later American slasher film genre. In the meantime, in the actor's field, the phenomenon of stardom was born which for a few years will experience unstoppable success. With the transition to sound cinema, most of the Italian silent film actors, still linked to theatrical stylization, find themselves disqualified. These films were low-budget costume/adventure dramas, and had immediate appeal with both European and American audiences. Representative films include: The Girl Who Knew Too Much (1963), Castle of Blood (1964), The Bird with the Crystal Plumage (1970), Twitch of the Death Nerve (1971), Deep Red (1975) and Suspiria (1977). Since the 1980s, due to multiple factors, Italian production has gone through a crisis that has not prevented the production of quality films in the 1990s and into the new millennium, thanks to a revival of Italian cinema, awarded and appreciated all over the world. Between 1913 and 1920 there was the rise, development and decline of the phenomenon of cinematographic stardom, born with the release of Ma l'amor mio non-muore (1913), by Mario Caserini. [94] This charge of novelty is recognizable from the beginning as the director's first work, Story of a Love Affair (1950), marks an indelible break with the world of neorealism and the consequent birth of a modern cinema. [36] Popular early Italian actors included Emilio Ghione, Alberto Collo, Bartolomeo Pagano, Amleto Novelli, Lyda Borelli, Ida Carloni Talli, Lidia Quaranta and Maria Jacobini. Another illustrator to underline is the artist Pino Zac who in 1971 shot (again with mixed technique) The Nonexistent Knight, based on the novel of the same name by Italo Calvino. Meanwhile, Ferraro 2005 offers an analysis that transcends any one medium and develops an interest in audiences by suggesting that even nonItalian Americans can claim to feel like Italian Americans in the postmodern era. This work is perhaps De Sica's masterpiece and one of the most important works in Italian cinema. Feb 16, 2007 #4. blubbering limey ass. [145] The mystery is the identity of the killer, who is often revealed in the climax to be another key character, who conceals his or her identity with a disguise (usually some combination of hat, mask, sunglasses, gloves, and trench coat). As a White ethnic immigrant group in the late 19th and early 20th centuries, Italian Americans endured discrimination and social prejudice. di Biagi, Flaminio. The difference between American and Italian pizza is mainly in the dough's thickness and shapes, with American pizza being thicker and rectangular. Stay informed about events, classes, and more. The structure of giallo films is also sometimes reminiscent of the so-called "weird menace" pulp magazine horror mystery genre alongside Edgar Allan Poe and Agatha Christie. [26], If the interest of the masses were enthusiastic, the technological novelty would likely be snubbed, at least at the beginning, by intellectuals and the press. [57] Another film with a realist setting is Lost in the Dark (1914) by director Nino Martoglio, considered by critics as a prime example of neorealist cinema.[58]. It is experienced as a blend of fear, recognition and tolerance through the phenomena of contact, complicity and conspiracy. Penne alla Vodka. Other works, such as di Biagi 2010, Tamburri 2002, and Tamburri 2011, aim to expand the scope of earlier understandings of Italian American media. The appearance, aroma and, taste itself differs a lot. A serious distinction that affects the types of movies made is the fact that American films are usually producer/studio controlled, while European films are director controlled. Italy was, along with Britain, one of the major destinations for American film companies. Bernardo Bertolucci won the award for The Last Emperor, and also Best Adapted Screenplay for the same movie. ets.org. Affective community in Naples is less an identity or organization than it is a synergy, event or practice. [10] Italian futurism, an artistic and social movement, impacted the Italian film industry from 1916 to 1919. Pornography and scenes of explicit sex were still forbidden in Italian cinemas, but partial nudity was somewhat tolerated. In 1952, Little World of Don Camillo became the highest-grossing film in both Italy and France,[117] while The Return of Don Camillo was the second most popular film of 1953 at the Italian and French box office.[118]. Most of the films celebrating the empire are predominantly documentaries, aimed at disguising the war as a struggle of civilization against barbarism. the Routledge Hisory of Italian Americans. To browse Academia.edu and the wider internet faster and more securely, please take a few seconds toupgrade your browser. Films such as Pietro Micca (1938) by Aldo Vergano, Ettore Fieramosca (1938), made in the same year by Alessandro Blasetti, and Fanfulla da Lodi (1940) by Giulio Antamoro can also be counted as propaganda films (albeit indirect), in which, a pretext for the epic narration of historical events, a clear apology for dedication to the homeland (in some cases even to the point of personal sacrifice) is made in the same vein as colonial films with a contemporary setting. Arguments related to civilian cinema can be found in the work of Damiano Damiani, who with The Day of the Owl (1968) enjoyed considerable success. One of Francesco Rosi's most famous films of denunciation is The Mattei Affair (1972), a rigorous documentary into the mysterious disappearance of Enrico Mattei, manager of Eni, a large Italian state group. Mid-Atlantic Popular Culture and American Culture (MAPACA) Almanack. Penne alla Vodka, is one of the foods that dont exist in Italy! Its story about a widowed Italian-American woman who falls in love with her husbands younger brother is an interesting one, and it uses this convention to explore bigger questions, such as the nature of love and of family. Hollywoods fascination with Italian mobsters and large, loud families preparing endless meals has given rise to a tradition of wonderful films depicting Italian culture in America, like Coppolas The Godfather trilogy, Moonstruck, My Cousin Vinny, and Do the Right Thing. [15][16][17] During the 1980s and 1990s, directors such as Ermanno Olmi, Bernardo Bertolucci, Giuseppe Tornatore, Gabriele Salvatores and Roberto Benigni brought critical acclaim back to Italian cinema,[12] while the most popular directors of the 2000s and 2010s were Matteo Garrone, Paolo Sorrentino, Marco Bellocchio, Nanni Moretti and Marco Tullio Giordana.[18]. In 2008 Paolo Sorrentino's Il Divo, a biographical film based on the life of Giulio Andreotti, won the Jury prize and Gomorra, a crime drama film, directed by Matteo Garrone won the Gran Prix at the Cannes Film Festival. Given how much of a success it was, it was inevitable that Saturday Night Fever would engender a sequel, entitled Staying Alive. The two made their cinema debuts in 1960 with the film Appuntamento a Ischia. Theres no question that Rocky is one of the most iconic and beloved sports movies of all time, and it is one of the movies that helped to establish Sylvester Stallone as a leading man. Offers a historically grounded analysis of Italian American representations from the 1920s to the 1960s and a discussion of Italian American filmmakers such as Scorsese and Francis Ford Coppola. [54] The main causes included the lack of a generational change with a production still dominated by filmmakers and producers of literary training, unable to face the challenges of modernity. American movies were multiethnic from the beginning, made initially for largely working-class and often immigrant audiences and shaped by filmmakers strongly identified with their ethnic groups. ", "Negotiations of Mixed-Race Identity and Citizenship in the Postwar Cinema and Beyond." Dvka doplnn se na led kbelk: stock video (100% bez. With its disco soundtrack and its powerful story of a young man trying to find meaning in an age known for its disillusionment, it became a significant hit. The first film of the genre Telefoni Bianchi was The Private Secretary (1931), by Goffredo Alessandrini. Monicelli's works include La grande guerra (The Great War), I compagni (The Organizer), L'armata Brancaleone, Vogliamo i colonnelli (We Want the Colonels), Romanzo popolare (Come Home and Meet My Wife) and the Amici miei (My Friends) series. In a city with chronic unemployment, this setting has attracted hundreds of aspiring singers trying to make a livingor even a fortune. The winners at the Academy Award for Best Costume Design are Piero Gherardi for La dolce vita and 8; Vittorio Nino Novarese for Cleopatra and Cromwell; Danilo Donati for The Taming of the Shrew, Romeo and Juliet, and Fellini's Casanova; Franca Squarciapino for Cyrano de Bergerac; Gabriella Pescucci for The Age of Innocence; and Milena Canonero for Barry Lyndon, Chariots of Fire, Marie Antoinette and The Grand Budapest Hotel. Federico Fellini is recognized as one of the greatest and most influential filmmakers of all time. Sorry, preview is currently unavailable. Early films such as Scipio Africanus (1937) and The Iron Crown (1941) showcased the technological advancement of the studios. Expand or collapse the "in this article" section, Analyses of and Comparisons between Individual Films, Representations of Italian Americans in the Films of Non-Italian Filmmakers, Analyses of and Comparisons between Individual Gangster Films, Sitcoms, Cooking Shows, and Reality Television, Expand or collapse the "related articles" section, Expand or collapse the "forthcoming articles" section, Italian-Americans in the Hollywood Cinema: Filmmakers, Characters, Audiences, Cinema and Media Industries, Creative Labor in, Film Theory and Criticism, Science Fiction. Upon viewing the film, Vittorio Mussolini is reported to have shouted, "This is not Italy!" Also interesting are the contributions of the painter and set designer Emanuele Luzzati who, after some valuable short films, made in 1976 one of the masterpieces of Italian animation: Il flauto magico ("The Magic Flute"), based on the homonymous opera by Mozart. Gina Lollobrigida, one of the biggest stars of European cinema in the 1950s and '60s, has died aged 95. Daddy daughter porn story Mom daughter incest illustrated. [48] It influenced Russian Futurist cinema[49] and German Expressionist cinema. It was created in 1998 to display the Minici Zotti Collection, in collaboration with the Comune of Padova. They are also known as polizieschi all'italiana, Euro-crime, Italo-crime, spaghetti crime films', or simply Italian crime films. [198] Cineteca di Bologna is a film archive in Bologna. The 20152016 documentary exhibitItalian American Cinema: From Capra to the Coppolasprovided visitors with a greater appreciation of the rich contributions made by Italian Americans to national cinema. The country is also famed for its prestigious Venice Film Festival, the oldest film festival in the world, held annually since 1932 and awarding the Golden Lion;[19] and for the David di Donatello. With political consolidation, the government authority required the film industry to strengthen the regime's identification with the country's history and culture. Though its fish-out-of-water plot might be predictable, the courtroom scenes alone make the movie a very hilarious comedy. The discovery of the spectacular potential of the cinematographic medium favored the development of a cinema with great ambitions, capable of incorporating all the cultural and historical suggestions of the country. She was the first actress to win an Academy Award for a performance in any foreign language, and the second Italian leading lady Oscar-winner, after Anna Magnani for The Rose Tattoo. In many ways, it is the epitome of the traditional American story, focusing as it does on a working-class Italian American man who aspires to be a heavyweight boxer. He received an honorary award for Lifetime Achievement at the 65th Academy Awards in Los Angeles. After many satirical short films (centered on the popular figure of "Signor Rossi") he returned to the feature film with what is considered his most ambitious work, Allegro Non Troppo (1977). Italy is one of the birthplaces of art cinema and the stylistic aspect of film has been the most important factor in the history of Italian film. Wide-ranging book that looks beyond Hollywood films and argues for a more inclusive notion of Italian American media. Notes on the History of Italian Nonfiction Film. Tiny flexible girl gets massive creampie. The phrase "Hollywood on Tiber", a reference to the river that runs through Rome, was coined in 1950 by Time magazine during the making of Quo Vadis. (1974). [189] In 2001, Nanni Moretti's film The Son's Room (La stanza del figlio) received the Palme d'Or at the Cannes Film Festival. There were Italian American film directors in Hollywood since silent cinema: Robert Vignola, Gregory LaCava, Frank Borzage (Borzaga), and Frank Capra. Although the primary markets for such films were American and British audiences, they enjoyed widespread popularity in other countries, including Italy. Pieraccioni lo celebra tra Conti e Panariello", "RAPPORTO Il Mercato e l'Industria del Cinema in Italia 2008", "Italy Box Office: Local Hit 'Quo Vado?' With the new millennium, the Italian film industry regained stability and critical recognition. It has launched film movements such as French Impressionism, German Expressionism, Soviet Montage, and Italian Neorealism that have greatly influenced and changed the way stories are written, filmed, and presented to an audience. Admits to being baffled by the idea of ItalianAmerican Cinema.. [12] Several major studios, among them Cines and Ambrosio, formed the Unione Cinematografica Italiana to coordinate a national strategy for film production. Italian Homes Are Much Older On Average Than American Homes Almost all of the biggest differences between Italian vs American homes can be attributed to the dates they were built. Alessandro Blasetti also experimented with the use of an optical track for sound in the film Resurrection (1931), shot before The Song of Love but released a few months later. Poetry and cruelty of life were harmonically combined in the works that Vittorio De Sica wrote and directed together with screenwriter Cesare Zavattini: among them, Shoeshine (1946), The Bicycle Thief (1948) and Miracle in Milan (1951). These films differed from traditional westerns by being filmed in Europe on limited budgets, but featured vivid cinematography. Among the major artistic films of this era were La citt delle donne, E la nave va, Ginger and Fred by Fellini, L'albero degli zoccoli by Ermanno Olmi (winner of the Palme d'Or at the Cannes Film Festival), La notte di San Lorenzo by Paolo and Vittorio Taviani, Antonioni's Identificazione di una donna, and Bianca and La messa finita by Nanni Moretti. Winners with the year of the ceremony: In 1961, Sophia Loren won the Academy Award for Best Actress for her role as a woman who is raped in World War II, along with her adolescent daughter, in Vittorio De Sica's Two Women. Elvira Notari, the first female director ever in Italy and one of the premieres in the history of world cinema, directs Carmela, la sartina di Montesanto (1916), while in Palermo, Lucarelli Film produced La cassaforte n. 8 (1914) and Ipnotismo (1914), the Azzurri Film La regina della notte (1915) and the Lumen Film Il romanzo fantastico del Dr. Mercanton o il giustiziere invisibile (1915) and Profumo mortale (1915), all films ascribable to the proto-giallo that multiplied in the following decades, becoming preparatory to the subsequent birth of the giallo. This lengthy essay on Italian American directors stresses their generational and historical differences, arguing that the Cinema of the Fathers (filmmakers like Capra and Vincente Minnelli) avoids directly addressing Italianness while the Cinema of the Sons and Daughters (filmmakers like Francis Ford Coppola and Scorsese) engages and disrupts Hollywoods Italian stereotypes. Where: Alfredo Alla Scrofa Restaurant: Via della Scrofa, 104/a, 00186 Roma RM, Italy. [195][196][197] Cineteca Italiana is a private film archive located in Milan. Viaggio nella scrittura di Enrico Palandri, Contact, complicity, conspiracy: Affective communities and economies of affect in Naples, Neorealismo with a satirical outlook: Alberto Sordi (1920-2003) and the stardom of the commedia all'italiana genre, Michael O'Connell, Three Florentine Sacre Rappresentazioni: Texts and Translations, Three Florentine Sacre Rappresentazioni: Texts and Translations, Immigrant Cosmopolitanism: The Political Culture of Argentine Early Sound Cinema of the 1930s, HISTORY, CULTURE AND SOCIETY IN THE MEDITERRANEAN WORLD, Recensione a Gian Paolo Giudicetti, Mandricardo e la melanconia. The sceneggiata (pl. The heyday of what was dubbed '"Hollywood on the Tiber" was between 1950 and 1970, during which time many of the most famous names in world cinema made films in Italy. Most sword-and-sandal films were in color, whereas previous Italian efforts had often been black and white. The films starring Ugo Fantozzi, a character invented by Paolo Villaggio for his television sketches and newspaper short stories, also fell within the comic satirical comedy genre. The protagonists were generally tough working class loners, willing to act outside a corrupt or overly bureaucratic system. [77], Among the directors who give their contribution to the war propaganda there is also Roberto Rossellini, author of a trilogy composed of The White Ship (1941), A Pilot Returns (1942) and The Man with a Cross (1943). New York: Bordighera, 2011. Another important example of a calligraphic film is the film version of The Betrothed (1941), by Mario Camerini (very faithful in the staging of Manzoni's masterpiece), which due to the perceived income, became the most popular feature film between 1941 and 1942.[86]. [93] Thus we are witnessing a new flowering of filmmakers who contribute in a fundamental way to the development of the art.[93]. [35][40] It was also the first film in history to be shown in the White House. Soon pink neorealism was replaced by the Commedia all'italiana, a unique genre that, born on an ideally humouristic line, talked instead very seriously about important social themes. Watch on. Other noteworthy recent Italian films include: Jona che visse nella balena directed by Roberto Faenza, Il grande cocomero by Francesca Archibugi, The Profession of Arms (Il mestiere delle armi) by Olmi, L'ora di religione by Marco Bellocchio, Il ladro di bambini, Lamerica, The Keys to the House (Le chiavi di casa) by Gianni Amelio, I'm Not Scared (Io non-ho paura) by Gabriele Salvatores, Le Fate Ignoranti, Facing Windows (La finestra di fronte) by Ferzan zpetek, Good Morning, Night (Buongiorno, notte) by Marco Bellocchio, The Best of Youth (La meglio giovent) by Marco Tullio Giordana, The Beast in the Heart (La bestia nel cuore) by Cristina Comencini. Furthermore, it also helped to popularize disco and fully established Travoltas stardom. This last film was inspired by the work of Pietro Cossa who is iconographically based on the etchings of Bartolomeo Pinelli, neoclassicism and the show Nero, or the Destruction of Rome represented by the Barnum circus. Other films include, Down and Dirty (1976) starring Nino Manfredi, and A Special Day (1977) starring Sophia Loren and Marcello Mastroianni.[164]. Titles of the time include, Arrivo del treno alla Stazione di Milano ("Arrival of the train at Milan station") (1896), La battaglia di neve ("The snow battle") (1896), la gabbia dei matti ("The madmen's cage") (1896), Ballo in famiglia ("Family dance") (1896), Il finto storpio al Castello Sforzesco ("The fake cripple at the Castello Sforzesco") (1896) and La Fiera di Porta Genova ("The fair of Porta Genova") (1898), all shot by Italo Pacchioni, who was also the inventor of a camera and projector, inspired by the cinematograph of Lumire brothers, kept at the Cineteca Italiana in Milan. [203], The Catania Cinema Museum exhibits documents concerning cinema, its techniques and its history, with particular attention to the link between cinema and Sicily. [181] These films are usually focused on the holidays of stereotypical Italians: bungling, wealthy and presumptuous members of the middle class who visit famous, glamorous or exotic places. Other successful 2010s Italian films include: Vincere and The Traitor by Marco Bellocchio, The First Beautiful Thing (La prima cosa bella), Human Capital (Il capitale umano) and Like Crazy (La pazza gioia) by Paolo Virz, We Have a Pope (Habemus Papam) and Mia Madre by Nanni Moretti, Caesar Must Die (Cesare deve morire) by Paolo and Vittorio Taviani, Don't Be Bad (Non essere cattivo) by Claudio Caligari, Romanzo Criminale by Michele Placido (that spawned a TV series, Romanzo criminale - La serie), Youth (La giovinezza) by Paolo Sorrentino, Suburra by Stefano Sollima, Perfect Strangers (Perfetti sconosciuti) by Paolo Genovese, Mediterranea and A Ciambra by Jonas Carpignano, Italian Race (Veloce come il vento) and The First King: Birth of an Empire (Il primo re) by Matteo Rovere, and Tale of Tales (Il racconto dei racconti), Dogman and Pinocchio by Matteo Garrone. Spine may show signs of wear. To learn more, view ourPrivacy Policy. The only actor of a certain substance, however, was Ferdinand Guillaume, who became famous with the stage name of Polidor. First of all, vodka is a spirit with not much taste. After having practiced the most diverse trends in the 1930s, he happily moved into the territory of sentimental comedy with What Scoundrels Men Are! "Mezzogiorno di fuoco e sangue": Narratives of Organized Crime and Stereotypes of the South in Songs from Northern and Central Italy, Black Babies/White Sovereignties: Tammurriata nera as a Perverse Mechanism of US and Italian Colonialisms. The Old Guard (1934), by Alessandro Blasetti evokes the supposed vitalistic spontaneity of squadism with populist tones, but is not appreciated by official critics. [107] According to most of the critics, La Terrazza by Ettore Scola (1980) is the last work considered part of the Commedia all'italiana. Italy in Early American Cinema offers readings of early films that pay close attention to how landscape representations that were related to narrative settings and filmmaking locations conveyed distinct ideas about racial difference and national destiny. [34], In the 1910s, the Italian film industry developed rapidly. [128], On the heels of the sword-and-sandal craze, a related genre, the Spaghetti Western arose and was popular both in Italy and elsewhere. [71] Among the authors, Mario Camerini is the most representative director of the genre. What would later take on the synthesis of the giallo, in fact, was produced and distributed at the dawn of Italian cinema. "Foscolo and English Culture." This is a story written at the confluence of Italy and its Diaspora. [79], Ossessione angered Fascist officials. [161] In 1962 he inaugurated the investigation film project retracing, through a series of long flashbacks, the life of the homonym Sicilian criminal in the film Salvatore Giuliano. Cinema italiano contemporaneo", "Vent'anni dopo Il Ciclone un cult. It glorified modernity and aimed to liberate Italy from the weight of its past.[52]. Enrico Guazzone's 1913 film Quo Vadis was one of the first blockbusters in the history of cinema, using thousands of extras and a lavish set design. [165] Stories are often set in affluent environments such as wealthy households. But all of those dishes are actually Italian-American hybrid foods created by. [111], The success of films belonging to the "Commedia all'italiana" genre is due both to the presence of an entire generation of great actors, who knew how to masterfully embody the vices and virtues, and the attempts at emancipation but also the vulgarities of the Italians of the time, both to the careful work of directors, storytellers and screenwriters, who invented a real genre, with essentially new connotations, managing to find precious material for their cinematographic creations in the folds of a rapid evolution with many contradictions.[111]. They also allowed the producers of Italian cinema to have enough revenue to produce successful artistic films. Studio sulla comicit di Franco Franchi e Ciccio Ingrassia" di Fabio Piccione. Benito Mussolini founded Cinecitt studio also for the production of Fascist propaganda until World War II.[67]. Sgarro alla camorra (i.e. With the exception of Lawton 1995, all agree on the value of studying Italian-American media. 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