Advertisement

Introduction: Italian Motherhood on Screen

  • Maria Elena D’Amelio
  • Giovanna Faleschini Lerner
Chapter
Part of the Italian and Italian American Studies book series (IIAS)

Abstract

In the introduction to the volume Italian Motherhood on Screen, we aim to examine critically the representation of motherhood and maternity in Italian cinema through a series of essays that consider the specificity of experiences of the maternal as projected and interrogated in recent Italian films. Our authors propose a variety of thematic concerns as well as different theoretical methodologies, all solidly anchored in feminist criticism and film theory.

Keywords

Italian cinema Motherhood Feminist studies Film theory 

Works Cited

  1. Braidotti, R. (2011). Nomadic subjects. Embodiment and sexual difference in contemporary feminist theory, 2nd ed. (New York: Columbia University Press).Google Scholar
  2. Cantini, M. (ed.) (2013). Italian women filmmakers and the gendered screen (New York: Palgrave Macmillan).Google Scholar
  3. Cavarero, A. (1990). Nonostante Platone(Rome: Editori Riuniti).Google Scholar
  4. Cottino-Jones, M. (2010). Women, desire, and power in Italian cinema (New York: Palgrave Macmillan).Google Scholar
  5. Cowie, E. (1978). Woman as sign. m/f‚ No. 1‚ 49–63.Google Scholar
  6. Creed, B. (1998). Film and Psychoanalysis. in J. Hill et al. (eds.), The Oxford guide to film studies (Oxford: Oxford University Press).Google Scholar
  7. D’Amelia, M. (2005). La mamma (Bologna: Il Mulino).Google Scholar
  8. Feasey, R. (2012). From happy homemaker to desperate housewives: Motherhood and popular television (New York: Anthem Press).Google Scholar
  9. Fischer, L. (2014). Cinematernity: Film, motherhood, genre (Princeton: Princeton University Press).Google Scholar
  10. Hipkins, D. (2008). Why Italian Film Studies Needs a Second Take on Gender, Special issue of Italian Studies, Thinking Italian Film, 63(2), 213–234.Google Scholar
  11. Kaplan, E. Ann. (1992). Motherhood and Representation: The Mother in Popular Culture and Melodrama (London and New York: Routledge).Google Scholar
  12. Kawash, S. (2011). New Directions in Motherhood Studies, Signs, 36(4), 969–1003.Google Scholar
  13. Kristeva, J., and Goldhammer, A. (1985). Stabat mater, Poetics Today, 6(1/2), 133–152.Google Scholar
  14. Lazzari, L., and Charnley, J. (eds.) (2016). To Be or Not to Be a Mother: Choice, Refusal, Reluctance and Conflict. Motherhood and Female Identity in Italian Literature and Culture, Special Issue of intervalla, 1.Google Scholar
  15. Luciano, B., and Scarparo, S. (2013). Reframing Italy: New Trends in Italian Women’s Filmmaking (West Lafayette: Purdue University Press).Google Scholar
  16. Mulvey, L. (1975). Visual pleasure and narrative cinema. Screen, 16(3), 6–18. Rpt. in Mulvey, Visual and other pleasures (pp. 14–26). London: Palgrave Macmillan. Google Scholar
  17. Oliver, K. (2012). Knock me up, Knock me down: Images of Pregnancy in Hollywood Films (New York: Columbia University Press).Google Scholar
  18. O’Rawe, C. (2014). Stars and Masculinities in Contemporary Italian Cinema (New York: Palgrave Macmillan).Google Scholar
  19. O’Reilly, A. (ed.) (2007). Maternal theory: Essential readings (Bradford, ON: Demeter Press).Google Scholar
  20. Panigiani, G. (2016) ‘Italy’s ‘Fertility Day’ Call to Make Babies Arouses Anger, Not Ardor,’ The New York Times, September 13. Web. http://www.nytimes.com/2016/09/14/world/europe/italy-births-fertility-europe.html?_r=, Accessed September 30, 2016.
  21. Parrella, V. (2008). Lo spazio bianco (Torino: Einaudi).Google Scholar
  22. Podnieks, E. (ed.) (2012). Mediating Moms: Mothers in Popular Culture (Montreal: McGill-Queen’s Press-MQUP).Google Scholar
  23. Rich, A. (1976). Of Woman born. Motherhood as experience and institution (New York: Bantam).Google Scholar
  24. Rigoletto, S. (2014). Masculinity and Italian Cinema: Sexual Politics, Social Conflict and Male Crisis in the 1970s (Edinburgh: Edinburgh UP).Google Scholar
  25. Ruddick, S. (1980). Maternal thinking, Feminist studies, 6(2), pp. 342–367.Google Scholar
  26. Saviano, R. (2016). ‘Fertility Day, revocate l’iniziativa,’ La Repubblica, September 2. Web. http://www.repubblica.it/politica/2016/09/02/news/fertility_day_revocate_l_iniziativa-147036484/, Accessed September 30, 2016.
  27. Stam, R. (ed.) (2000). Film theory: An anthology (Hoboken: Blackwell Publishing).Google Scholar
  28. Vaiani, L. M., and Muraro, L. (1991). L’ordine simbolico della madre. (Roma: Editori Riuniti).Google Scholar
  29. Weigel, M. (2016). ‘Bridget Jones’s Baby Is a New Kind of Momcom.’ Web. http://www.theatlantic.com/entertainment/archive/2016/09/bridget-jones-momcom/501371/, Accessed November 7, 2016.

Filmography

  1. Amelio, G., dir. (2004). Le chiavi di casa (The Keys to the House). Italy, Germany, and France: Jean Vigo Italia.Google Scholar
  2. Bondi, F., dir. (2008). Mar Nero. Italy, Romania, France: Film Kairòs.Google Scholar
  3. Capone, A., dir. (2007). L’amore nascosto (Hidden Love). Italy, Luxembourg, and Belgium: Cristaldi Film, Soho Films, Tarantula, and Umedia.Google Scholar
  4. Comencini, C., dir. (2011). Quando la notte (When the Night). Italy: Cattleya and Rai Cinema.Google Scholar
  5. Comencini, F., dir. (2009). Lo spazio bianco (The White Space). Italy: Fandango.Google Scholar
  6. Costanzo, O. and F. Giardina Papa, dirs. Tutto parla di voi. Webdoc. http://tuttoparladivoi.ilfattoquotidiano.it, Accessed November 1, 2016.
  7. Cotroneo, I., dir. Una mamma imperfetta. Webseries. http://video.corriere.it/spettacoli/una-mamma-imperfetta, Accessed May 30, 2013.
  8. ———., dir. Una mamma imperfetta. (2013). TV Series. RCS, Indigo Film, Rai Fiction, La 21. Rai 2.Google Scholar
  9. Crialese, E., dir. (2011). Terraferma. Italy and France: Cattleya.Google Scholar
  10. Guadagnino, L., dir. (2009). Io sono l’amore (I Am Love). Italy: Mikado Films and First Sun.Google Scholar
  11. Lee, C.D., dir. (2007). Milyang (Secret Sunshine). South Korea: CJ Entertainment, Cinema Service, and Pine House Film.Google Scholar
  12. Luchetti, D., dir. (2010). La nostra vita (Our Life). Italy: Cattleya.Google Scholar
  13. Marazzi, A., dir. (2012). Tutto parla di te (All About You). Italy and Switzerland: Mir Cinematografica and Ventura Films.Google Scholar
  14. Melliti, M., dir. (2007). Io, l’altro. Italy: Trees Pictures and Sanmarco Films.Google Scholar
  15. Moretti, N., dir. (2015). Mia madre (My Mother). Italy, France, and Germany: Sacher Film, Fandango, Le Pacte, Arte/WDR Film Boutique.Google Scholar
  16. Nesler, N., and Piga, M., dirs. (2016). Lunàdigas. Ovvero delle donne senza figli. Italy: Kiné.Google Scholar
  17. ———. Lunàdigas. Ovvero delle donne senza figli. Webdoc. http://www.lunadigas.com/wpph/il-progetto/webdoc/, Accessed November 1, 2016.
  18. Segre, A., dir. (2011). Io sono Li (Shun Li and the Poet). Italy and France: Jole Films and Aeternam Films.Google Scholar
  19. Tognazzi, R., dir. (2010). Il padre e lo straniero (The Father and the Foreigner). Italy: Ager 3.Google Scholar
  20. Tornatore, G., dir. (2006). La sconosciuta (The Unknown Woman). Italy: Medusa Films and Manigold Films.Google Scholar
  21. Virzì, P., dir. (2013). Il capitale umano (The Human Capital). Italy and France: Indiana Production Company and Il Motorino Amaranto.Google Scholar

Copyright information

© The Author(s) 2017

Authors and Affiliations

  • Maria Elena D’Amelio
    • 1
  • Giovanna Faleschini Lerner
    • 2
  1. 1.Research Fellow, Center for International RelationsUniversity of the Republic of San MarinoMontegiardinoRepublic of San Marino
  2. 2.Franklin & Marshall CollegeLancasterUSA

Personalised recommendations