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Titlebook: Homosexuality and Italian Cinema; From the Fall of Fas Mauro Giori Book 2017 The Editor(s) (if applicable) and The Author(s) 2017 Masculini

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发表于 2025-3-21 19:37:22 | 显示全部楼层 |阅读模式
书目名称Homosexuality and Italian Cinema
副标题From the Fall of Fas
编辑Mauro Giori
视频video
概述The first book-length study devoted entirely to the topic of homosexuality in Italian post-war cinema..Explores over 600 films and includes extensive archival research on hundreds of unpublished docum
图书封面Titlebook: Homosexuality and Italian Cinema; From the Fall of Fas Mauro Giori Book 2017 The Editor(s) (if applicable) and The Author(s) 2017 Masculini
描述This book is the first to establish the relevance of same-sex desires, pleasures and anxieties in the cinema of post-war Italy. It explores cinematic representations of homosexuality and their significance in a wider cultural struggle in Italy involving society, cinema, and sexuality between the 1940s and 1970s. Besides tracing the evolution of representations through both art and popular films, this book also analyses connections with consumer culture, film criticism and politics. Giori uncovers how complicated negotiations between challenges to and valorization of dominant forms of knowledge of homosexuality shaped representations and argues that they were not always the outcome of hatred but also sought to convey unmentionable pleasures and complicities. Through archival research and a survey of more than 600 films, the author enriches our understanding of thirty years of Italian film and cultural history..
出版日期Book 2017
关键词Masculinity; Lesbianism; Cinecittà; Body; Sex; Gender
版次1
doihttps://doi.org/10.1057/978-1-137-56593-8
isbn_ebook978-1-137-56593-8
copyrightThe Editor(s) (if applicable) and The Author(s) 2017
The information of publication is updating

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Undressing the Other,ity generated by homosexuality initially focused on two very different but intertwined and widely discussed forms of display of the undressed male body: the ambiguous spectacle of men passing for women in a series of burlesque movies which gave birth to a wave of so-called shockumentaries and the hy
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Love in the Time of Panic,entaries, whilst on the other hand original representations were produced following the examples of Visconti and Pasolini, or taking inspiration from literary models, or even as social commentaries in the so-called comedy, Italian style, especially in the form of episode films.
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Sexual Revolution, Italian Style, sexual revolution, to exploit what it pretended to discuss since it was perceived as a menace, mostly free love among youths and women’s independence. In this new context, the less male homosexuality was understood as challenging, the more lesbianism was preferred on the condition that it was norma
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The Only Good Thing, the breaking of these last taboos usually failed to be really challenging. It also shows how in Italy cinematic pornography was prevented by a cross-party front from playing a role in the development of both a gay subculture and a sexual revolution, although other successful forms of untargeted por
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Conclusion: Martyrdom and Pleasure,ship between homosexuality and Italian cinema traced in the book, are far from being enough to explain its significance: pleasure, curiosity, attraction, and even concealed fantasies on the part of men self-declaring heterosexual have been as much important.
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