Gy-neology and Genealogy of a Female Filmmaker: The Case of Susanna Nicchiarelli’s Films

  • Silvia Carlorosi
Part of the Italian and Italian American Studies book series (IIAS)


In this chapter Carlorosi offers a reading of Susanna Nicchiarelli’s films (Il terzo occhio 2003; Cosmonauta 2009; La scoperta dell’alba 2012), focusing on her representation of history that places female subjectivity at the center and revolves around maternal figures and mother-daughter interactions, which follows classic feminist thought. Within the narrative of the film, the mother-daughter genealogical conflict functions as a gy-nealogical opportunity for women to grow and gain strength, and it is an instrument through which the director proposes alternate readings of the historical discourse. Carlorosi’s analysis explains how this generational conflict and gy-neologic reconnection result is instrumental for individual growth, as well as for a historical re-consideration of Italian society at large.


Susanna Nicchiarelli Genealogies Female subjectivity Conflict 

Works Cited

  1. Benedetti, L. (2007). The Tigress in the Snow: Motherhood and Literature in Twentieth-century Italy. Toronto: University of Toronto Press.Google Scholar
  2. Cardone, L., Jandelli, C., & Tognolotti, C. (Eds.). (2015). Storie in divenire: le donne nel cinema italiano. Special Issue of Quaderni del CSCI, Vol. 11.Google Scholar
  3. Diotima, (2007). L’ombra della madre. Napoli: Liguori.Google Scholar
  4. Ginzburg, C. (1993). ‘Microhistory: Two or three things i know about it’ (J. Tedeschi, & A. C. Tedeschi, Trans.). Critical Inquiry, 20(1), 10–35.CrossRefGoogle Scholar
  5. Ginzburg, C. (2009). Il formaggio e i vermi. Torino: Einaudi.Google Scholar
  6. Gundle, S. (1995). Sophia Loren, Italian Icon. Historical Journal Film, Radio and Television, 15(3), 367–386.CrossRefGoogle Scholar
  7. Hipkins, D. (2008). Why Italian film studies needs a second take on gender. Italian Studies, 63(2), 213–234.CrossRefGoogle Scholar
  8. Luciano, B., & Scarparo, S. (2002). Rethinking identity in the cinema of Silvio Soldini. Forum for Modern Languages Studies, 38(3), 341–351.CrossRefGoogle Scholar
  9. Luciano, B., & Scarparo, S. (2010). The personal is still political: Films by and for women by the new documentariste. Italica, 87(3), 488–503.Google Scholar
  10. Luciano, B., & Scarparo, S. (2013). Reframing Italy: New trends in Italian women’s filmmaking. Lafayette: Perdue UP.Google Scholar
  11. Marini-Maio, N. (2016). The space race, or when communist girls dreamed of the moon. Cosmonauta by Susanna Nicchiarelli (2009). In G. Lombardi & C. Uva (Eds.), Nuovo Cinema Politico (pp. 279–290). Oxford: Peter Lang.Google Scholar
  12. Morris, P. (Ed.). (2006). Women in Italy: 1945–1960. An interdisciplinary study. New York: Palgrave Macmillan.Google Scholar
  13. Muraro, L. (1991). L’ordine simbolico della madre. Roma: Editori Riuniti.Google Scholar
  14. Renga, D. (2014). Italian teen film and the female auteur. In D. Hipkins & R. Pitt (Eds.), New vision of the child in Italian cinema (pp. 307–329). Oxford: Peter Lang.Google Scholar
  15. Zagarrio, V. (2006). La meglio gioventù: Nuovo cinema italiano 2000–2006. Venezia: Marsilio.Google Scholar

Copyright information

© The Author(s) 2017

Authors and Affiliations

  1. 1. Bronx Community College of the City University of New YorkNew York CityUSA

Personalised recommendations