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CHARTER - HISTORY AND STORIES OF ITALY IN SCREENPLAY

Authors: Mariapia Comand (ed.) Publisher: Lindau, 2006, Torino Series: Essays Pages: 320 Size: 14 x 21 Price: € 22 Language: Italian

Index : Foreword by Nereus Boat Introduction. Charter sings Mariapia Comand 1. The script, by George area Tinazzi - 1.1. The case Cerami 2. Scenarios. The script in silent film by Silvio Alovisio - 2.1 From the origins to the '20s: a proposal of periodization - 2.2 Writers and Cinema: Some report - 2.3 The first appointments and the creation of the subject - 2.4 The process of the script - 2.5 The forms of writing - 2.6 screenwriter and stage director - 2.7 Writing for the film and staging - 2.8 Writing captions - 2.9 A new professional vocabulary - 2.10 The dialogue and acting - 2.11 The design of the scene written 3. Before and after the image: paths between literary text and film in the cinema of the 30s Luca Mazzei - 3.1 "Turn!", Then dies. Cines-Pittaluga and the first public - 3.2 Sons of 'NN' - 3.3 Factory screenwriter - 3.4 box, and iron - 3.5 Theory and practice of the Office subject - 3.6 before and after the movie screenplay - 3.7 The collective creation and the problem of authorship - 3.8 After the image: the writer as a spectator 4. The ashes of Balzac. Screenplay writers and neo-realism in Giuliana Muscio - 4.1 The lesson of Barbaro - 4.2 neorealist screenwriter - 4.3 From 1945 to the split of 1948 - 4.4 Amidei, Zavattini, Fellini and Pinelli - 4.5 Pride and 'Cinema' - 4.6 In Neorealism maturity - 4.7 debuts illustrious 5. Grief and euphoria. The screenplay in the 50s Federica Villa - 5.1 The observance of mourning - 5.2 Rites of passage - 5.3 Italian Funeral 6. Serving the author. The screenplay of the film "Masters" of the '60s and '70s Giacomo Manzoli - 6.1 Modernization as a crisis on Italian screens - 6.2 Writing Workshops at the service of the Authors - 6.3 Build commitment - 6.4 The case Pasolini - 6.5 Towards the decline 7. Comedy and the surrounding area. Writing genre in the '60s and '70s Andrea Pergolari - 7.1 A necessary precondition - 7.2 The play and its authors - 7.3 The bright trail of Age and Scarpelli - 7.4 adepts and followers - 7.5 Solitary irregular and non-integrated - 7.6 The case Sonego - 7.7 At the edge of the genus - 7.8 Out of gender - 7.9 The comedy film - 7.10 The '70s: mannerism, hallway and pecoreccio - The sneers of 7:11 Welcome and De Bernardi - 7.12 The latest proposals 8. Death and Rebirth of "craft." Writers and screenplays of the 80s and 90s Vito Zagarrio - 8.1 The script does not exist - 8.2 The 80 - 8.3 The large funnel television - 8.4 Veterans - 8.5 The last things - 8.6 The 90s - 8.7 For a mapping of the writers 90 - 8.8 Conclusions 9. Open-ended. Narratives of the millennium Mariapia Comand - 9.1 The nth spring of Italian cinema - 9.2 Migration and transformations. The "grammar of the suspension" - 9.3 The script, avantgarde Memory - 9.4 Stories 'glocal', plainly 10. The popular novel by Paolo D'Agostini - 10.1 on "The Best of Youth" of Petraglia and Rulli Bibliography Index of names

Ugly Duckling of film studies, especially in Italy, the script has in recent years found a place in the limelight thanks to the excellent work of young researchers. This generation of scholars, born at the turn of the '60s and '70s, it was found to share - from different observation towers - the need to start thinking about the specific role the script in the process of construction (and in the wider context of the history of Italian cinema), to be a more polished, adjusted for the ideological and theoretical paradigms with which their predecessors approach to the subject. Outside, therefore, the mold and post-structuralist semiological, free from the shackles of the theory of the authors. On paper with Mariapia Comand calls together the "best of youth" of the film studios on: divided by decades of Italian cinema "written" is not at all isolated from the hands of insecure, among others, Silvio Alovisio (now in authority of the Italian silent a few years), James and Andrea Manzoli Pergolari (both, albeit from different perspectives, experts in popular cinema and gender), Vito Zagarrio (perhaps the only one who knows how to extricate themselves in the hells of the last three decades, Italian) and Federica Villa (Turin, already the author of important scholarly essays on the script) . To frame the contributions rather weak in the "old" boat, Tina and Paul D'Agostini. Individually, the grants to highlight the merits of historiography (unpublished research papers on Alovisio of Italy), prospects for interesting analysis (and the Comand Zagarrio on the crisis of Italian cinema), for completeness (Manzoli) or ability to renew a wrought so much ground (the Muscio with neorealism). Overall the wise, besides being the most advanced study in our country, no lack of light and organic. Joseph Fidotta