Anime morte (Universale economica. I classici) (Italian Edition)

On the Slaughter of the Innocents. Annotation on a panegyric eulogizing a Jesuit saint. A collection of phrases describing gems, in alphabetical order, starting with Agathe. Also, flowers, giants, heros, etc. A collection of oratorical description: A short speech on the different activities of man. An oration in praise of St. Virgo sine labe concepta A speech in praise of the Immaculate Virgin Mary.

A panegyric on St. Treatises and various poems on the mystical significance of tears. Contains also a panegyric treatise by Franciscus Brivius see no. Various kinds of poems. De Diva Catharina Panegiricus. Brivius became a member of the Jesuit Order in and later professor of rhetoric at the Collegio Romano. A panegyric on Diva Catharina. Spinola, Lazaro, Libro nel quale si trata de diverse materie utilissime ad agn'uno. Title page some words affected by ink erosion and pages, numbered ff. A manuscript of contemplations on history, the pages fully covered in an easily legible 17th century hand, probably that of the author, who calls himself "abbate e priore.

Orden, Como se ha de Governar un Buen Soldado. A calligraphically written copy of a manual on military regulations and organization, the duties of various officers, military groups, etc. The manuscript seems to be incomplete. The anonymous author was probably a Spanish officer of the 17th century in the service of the Viceroy of Naples. Henry IV, King of France. Translated from the French. Discorso della Guerra fra i Genovesi e il Duca di Savoia nell'anno Charles Emmanuel I of Savoy was defeated by the Genoese.

Descrittion Breve di Ferrara nel cui dominio sia stata et sia. An account of Ferrara's history then belonging to the States of the Church , and the different dominations under which it has been since the time of Charlemagne. La Restitutione di Clerac, con le parole tenute da quelli di Clerac, che hanno mandato verso il Re per rimetterli la piazza nelle sue mani ali 4 di Agosto With a list of the cities that surrendered to the King. Venice, Antonio Pinelli, A speech dealing with the question of whether Spain should lay down weapons and forgive the Duke of Savoy Charles Emmanuel I , or prosecute the war and despoil him of his territorial possessions and destroy the menace he represents to the State of Milan.

Breve informatione delle differenze, che passano con Monsig. Paravicino Vescovo d'Alessandria, per servitio della sua Chiesa, nella diffesa dell' Immunita Ecclesiastica particolamente. A printed pamphlet on the diffeences concerning ecclesiastical policy between Erasmus Paravicino, Bishop of Alexandria, and Rome, including letters to and by Paravicino, dated Relatione Della Rotta data dal Sig. Printed pamphlet, translated from the French.

An account of the defeat inflicted by M. Toiras, lieutenant of M. Paris and Rome, Account of the second defeat inflicted upon the Huguenots by M. An account of the negotiations between the Dukes of Savoy and of Mantua concerning the settlement of a monetary dispute. Risposta alla Relatione stampata in Torino, Sopra el negotiato dalli Deputati di Savoia in Milano, per l'accommodamento delle differenze con Mantova.

A reply to the preceding. Conte Luigi Arconati , dated Milan, April 28, Contemporary stiff grey wrappers. This volume contains a comedy-play by a certain P. Giottini, L'Astrologo , which was apparently never printed. The roles of Tognello and Pulcinella are written in the Neapolitan dialect. Comic contrasts are obtained by exploiting the peculiarities of French, Florentine, German, and Neapolitan. A comedy play in 5 acts of the 17th century. No title is given. The play is written in prose. The author could not be identified. Parts of Boccaccio's Decamerone and other samples of literary style and rhetoricas phrases.

This volume contains a series of passages chosen for their stylistic elegance from Boccaccio's Decamerone, ff. Various sonnets and canzonets in Italian, ff. Elegant rhetorical phrases and a fragment of a poem in Italian tercets, ff. Sermo, de sancto Jubilei anno.

The binding is a parchment document in Latin of the 16th or 17th century. A comedy play in 5 acts which was acted once in Naples. Presumably this play was not printed. On the first leaf is the following notation in pencil: Comedy in prose in three acts. An untitled play of the heroic-comic genre, with historical personages and stock characters from the commedia dell'arte. One of the central personages seems to be Julian the Apostate.

Perhaps this play was named after him?

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Much pageantry, stage directions call for incidental music. Prose comedy in three acts. A comedy play, untitled perhaps by Giovanni Girolamo Benetti, a Roman, whose name appears on verso of the last blank leaf. The genre of this play is a combination of the mythological with the commedia dell'arte world.

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Typical in this respect is the scene between Pantalone stock character of the Commedia dell'arte and Venus pp. Pantalone speaks in the Venetian dialect, Venus in correct standard Italian. Treatise on the principles of Logic. Sequel to the proceding. On the sensory faculties, operation of the mind, judgement. Drawing of the human brain at beginning. On fantasy, imagination; waking and sleeping state; union of soul and body; refutation of the views of Descartes and Malebranche on this topic; memory, reminiscence.

On metaphysics, the existence of God; attributes of god; operations of God; predetermination; man's soul; immortality of the soul; main point of the Aristotelian system; de accidentibus; formae substantiales; the soul of animals; the mechanical explanation of the anima brutorum. General introduction to physics: On the genesis and nature of sound; on the organ of hearing; the object and sense of smell and touch; on the problem of Gravity: The answer is in the affirmative. Dissertatio de lumine , and other treatises. On Newton's theory of colors; the mechanism of vision; catoptrics; the telescope; electricity.

On impenetrability; inertia; second and third Newtonian law; central forces; cause of speed; universal gravity of bodies; laws of gravity; for a better understanding of Newtonian theory; phenomena of tides; Galileo's opinion refuted; Descarte's opinion refuted; Kepler's view refuted; Newton's theory approved; nature of comets. Continuation of the preceding volume. The Annales Ecclesiastici were published in 12 volumes in Rome, from to The present abridgment was compiled between the dates that are indicated at the beginning and at the end of this ms.

Folded and double pages. This volume contains 90 broadsides of appointments of Cardinals by different Popes. With name, woodcut arms, and portraits, mostly printed in red and black, ; also 5 printed scrutiny lists with notes by hand, A poem in octaves, in 30 cantos. Fortiguerri, Niccolo, Il Ricciardetto. Apparently, Forteguerri, as a result of a bet with friends, composed one canto a day.

In each canto he made an effort to fuse the styles and modes of narration of the three major chivalric poems--Pulci's Morgante , Bojardo's Orlando Inamorato , and Ariost's Furioso. Il Rodrigo, ovvero la Costanza in Amore. Name of author not given. A scenario for a commedia dell'arte. No author or title given. This volume contains a dictionary of Latin legal terms. At the end, long lists of names, ranged according to dates. The dictionary is partly thumb-indexed. Edited by Giuseppe Moleto. With 63 of 64 engraved double page maps, text on the versos. Venice, Vincentio Valgrisi, An important Ptolemy edition.

Giuseppe Moleto from Messina , professor of mathematics in Padua, revised the Latin translation by Willibald Pirckheimer and supplied an extensive commentary to books 1 and 7. The very fine engraved maps had first appeared in Ruscelli's Italian Ptolemy edition. All except four are based upon Gastaldi's maps to the pocket edition of Ruscelli's maps are extremely well designed and became very influential in the development of cartography. His world map no. The following nine maps refer to America: The second world map, "Carta Marina," No.

Sabin ; Harrisse incomplete ; J. Printed documents in the legal suit of Spolverino against Bevilaqua and Canossa, dated from to The last 2 leaves slightly defective. At the end, an epigram in Latin on the affair. Ristretto del Processo e della Sentenza contra Michele Molinos He was arrested in Rome in Errori principali intorno la nuova contemplatione overo Oratione di quieti. Contains 19 points concerning the dogma of Quietism.

Copia di fatto scritto ad un Cavaliere. Contrasto Curioso tra il Governatore d'una Citta ed il vescovo Concerns a controversy between the governor of a city and a bishop. Concerning a controversy between three gentlemen. Printed document, 10 pages, numbered ff. Various documents concerning the marriage between R.

Acciaioli and Lisabetta Mormorai. Galanterie di due Fr. Minori non-Osservanti de S. Concerning a French and an Italian member of the Order of the Minorites. Dates mentioned are August to October Ristretto del processo e sentenza contra Simone Leoni Legal sentences against Antonio Maria Leoni. Defense of Cardinal Baldeschi, who was nuncio in Switzerland. No date after Lettera scritta al Alessandro Capizucchi. A letter of resentment and reproaches. Judgement against an Augustinian painter. Processo e fulminazione di condanna contro un omicidiario de Palombacci.

Simone, Cardinale, dated Abjuration by a nun. Abbatem Ioannem Franciscum Conestabilem. Promortem Fiscalem eiusdem Congregationis. Il sottocuocco de Cavalieri. An accusation against an undercook. Memoriale d'un Galantuomo Romano. Report of a crime committed on May 6, Francesco Bernardino Marchese Pallavicini. Dichiarazione circa il fatto seguito nel Golfo di Santo Stefano nel mese di Novembre Rome, nella stamperia della Rev.

Report on an event in Corfu. Si come e massima stabilita Statement concerning the Count Capozucchi. Erizo, Niccolo, Venetian ambassador to Rome. Copy of a letter concerning an engagement between Erizzo and the Marchese Crescenzi. Rimostranza delle Ragioni del Signor Prencipe di Messerano Printed pamphlet in Italian.

Concerning a quarrel between the Court of Rome and the Prince of Messerano. Scrittura per la Pace tra il Sig. Benedetto Baglioni et il Sig. Relatione di due Battuti D. Frabritio Spinelli e D. Report on a duel. Decreta Congregationi Criminali Militarium. Decree concerning a delinquent soldier, dated Nov. Concerning a boating accident.

Relazione di quello che e seguito della Terra dell' Ariccia Report of an incident that took place in Felice Cunerti Minor Conventuale, che fu abjurato scatolaro. Impegno tra l'Auditore della Camera et il Governore. Lettera scritta all' eminentissimo Sig. The first letter is dated March 1, The correspondence concerns the tense relations between Alberoni and the other Cardinals.

And other documents concerning Cardinal Niccolo Coscia: Altogether 72 pages, numbered ff. Prima minuta di Lettera di Mano di Monsignor Sardini trovata in sua casa. Altogether 36 pages, numbered ff. In Dei Nomine Amen. Copia publica cuiusdam Sententiae deffinitive Falsificazione di Cedole contratatte con certi Ebrei di Ancona. Concerning the Jews of Ancona. Distinta Relazione della scelerata morte di Angiolo Sechiarolo Ancona, stamperia Belelli, Relazione delle Bestialita et Eresie de i Beccarelli di Brescia.

Magalotti Governatore di Roma. Relazione della morte di Giogio Picknon, Hirlandese succeduta in Roma il Morte del Conte Trivelli. Morte d'Abramo et Angelo Ebrei. Printed propostion for the publication of the proceedings of a literary club that assembled in the house of Marchese Ottaviano. The plan is to publish the proceedings beginning with Prospetto di una Edizione Fiorentina dell' Enciclopedia. Printed pamphlet in French. Ridiculing the anti- religious ideas of the 18th century French philosophers, i. Lettera d'un amico ad un suo concittadino Printed pamphlet, 48 pages not quite complete , numbered ff.

It also describes the process against him. News on events from Florence, Civitavecchia, Constantinople, Egypt, etc. Veridica e distinta relazione della funesta ruina della Terra di Montepiano nella Diocesi di Chieti, occorsa il di Printed report, 4 pages, on the storm and landslide that destroyed the town. Rome, Stamperia del Chracas, Printed list of appointments to church offices made by the Pope.

Letter by Serra, professor of eloquence, to the lawyers of Maldenti, a youth involved in a trial concerning a disputed inheritance. Galba Paolo Emilio triumphum impedire nititur. A theoretical speech, probably held by a student of eloquence, in which Galba states his reasons for opposing the triumph of Paulus Emilius during the Third Macedonian War in the second century. Review of a theological treatise. Dated Vienna, June 6, Relazione dell'enormi delitti commesse nella Citta di Modena Modena and Rome, n.

Report on Puggioli, a shoemaker of Modena, who was executed on Dec.

GEN MSS 110

Relazione della segnalata vittoria Account of Laudhon's victory at Landshut over the Prussian troops commanded by General Fouquet, on June 22 and 23, Regali che si sogliono ricevere List of the presents received customarily on Ferragosto day by the superintendent of roads, water works, etc. Ravizza, Francesco, of Oriveto. Biographical notes on his career and appointments: Progress report on a new river canal. Historical notes on papal and worldly history.

From the 16th to the 18th century. The last entry is dated Printed letters, dated Altorf, August 15, The Archbishop of Ephesus reccommends to the Swiss Benedictines that the Psalter should be reprinted by them and at their expense. Risposta dell'Academico Ardente al Abate Ridolfini Venuti sopra la citta di Corito se sia Cortona.

An answer to Abbot Venuti's theories on the origins of Cortona which he treated in vol. Various graduation certificates bestowed by Count Sforza, perpetual commendatarius of St. Distinto Ragguaglio dell'Apostolica Legazione Relazione della grandine caduta nella Citta di Monaco Printed pamphlet, 4 pages with full-page woodcut, numbered ff.

An account of a hailstorm that struck Munich in Bavaria on June 15, Relazione della Condanna e morte eseguita Account of the execution in Turin of a criminal, Baudolino Testa, on Oct. Lettera Scritta da un particolare di Napoli ad un suo Amico in roma. Dated Naples, May 26, Distinta Relazione dell'orribile terremoto An account of the earthquake which struck several cities of the March region during April Detailed account of the festivities on the occasion of the solemn entrance of Odescalchi into Milan.

Allegrinus, Pisonius, et Socii, Typographi Dated January 1, Announcement of the Florentine printers of a legal series in the process of publication. Du premier Septembre Printed leaflet in French. Two announcements of arrests by the King of France relating to the jurisdictional dispute between royal and parliamentary powers. Various notes on administrative, legal, and political matters, dated Progetto di risposta da darsi al Cantoni di Lucerne. Project of an answer by the Secretary of State to the authorities of the Swiss Canton Lucerne involving matters of protocol. At the end a sonnet. Notes on diplomatic matters, dated Conclave, June 24, Notes regarding the proceedings at conclave after the death of Pope Benedict XIV, and on other conclaves.

Enchiridion de Ratione Docendi. Sommario de'Documenti citati nella Risposta al Manifesto della Spagna. Important set of diplomatic and political documents concerning relations between the Tuscan States and Spain and to the question of dynastic succession in Central Italy. Vienna, nella stamperia Imperiale, Sacrati, Francesco, Amadeo, Ottaviano. Printed letter in Italian. Dated Ferrara, July 20, Concerns a calumny against the Sacrati family in Rome. Cloche, Antonin, General of the Dominicans.

In Dei Filio sibi dilectis RR. Printed document in Latin. Dated Rome, July 28, Concerns the funeral of Hieronymus Berti, canon of S. Concerning bishoprics in Savoy. Concerning one Signor Galeotto Uffreducci. Frankfurt on the Main, A document concerning the jurisdictional disputes between the papacy Clement XI and the monarchic power in southern Italy Vittorio Amadeo di Savoia. Ottavario che si solennizara nella Chiesa dell' Archiconfraternita della Santissima Nativita Concerning the centenary of the erection of the church.

Printed in Rome, nella stamperia della Rev. Paoluzzi li 11 Mag. Philip V, King of Spain. Foglio presentate al Cardinal Paoluzzi Concerning the affairs of Sicily. This discourse was held in Bologna, on Jan. Requista Abbatis Stephani Cristiani. Papal decree of Feb. Copy of a letter written to Cardinal Orsini, encouraging him to accept the assignment of going to Vienna in order to persuade Emperor Charles VI to wage war against the Turks.

Cardinales habita in Consitorio, die 2. A formal speech in celebration of the victory by the Imperial troops in Hungary over the Turks. Romae, typis Joannis Mariae Salvioni, Brevis ad Eugenium Sabaudia. Rome, typis Joannis Mariae Salvioni, Copia di lettera d'amico confidente di Roma. Dated June 10, Al Governatore di Mantua sopra l'affare del acque nel Copy of a letter referring to the innundation.

Viglietto scritto alla Santita di Nosto Signore. The letters are dated June and August An account of goods salami, cheese, soap, etc. List of persons appointed to high Church offices in the period between January and July List of persons who attended a party in the house of the Count of Gallas, Imperial Ambassador in Rome, in List of ladies who attended a levee on August 13, in the house of Baronessa Scarlatti. A list of persons attending a banquet in the house of Acquaviva, the Spanish ambassador in Rome, on the occasion of the birth of the Infanta, on August 29, Printed list of names.

With some handwritten notes and the date Genua, April 18, Panegyric on the Pope, who lived from , fought against the last remnants of the sect of Molinos and against the Jansenists, was a member of the cenacle of Christine of Sweeden, and enriched the Vatican Library with precious manuscripts. Li conti di Monte Vecchio Girolamo, professor of Literature at the University of Siena apologizes in this broadside for the sarcastic remarks he had previously addressed to the Grand Duke of Tuscany, the Florentines, the Crusca Academy, etc.

Praeclare tecum agitur ornatissime iuvenis. Relating to the landing of Spanish troops in Italy, etc. Lettere scritte al Sig. Cellamare, Spanish Ambassador to the court of France, was the principal tool of Alberoni and plotted the famous "Cellamare Conspiracy. This was the cause of Alberoni's fall. Manifeste sur les sujets de rupture entre la France et l'Espagne. Printed pamphlet in French, with Italian translation in facing column. The French side of the Cellamare Conspiracy see no.

Copy of a letter to Cardinal Guidice, written from Palermo, June 8, Printed pamphlets in Italian. Suggestions for water works in Civita Vecchia. Concerning the cost of a pageant in Ancona. Printed broadside, folio, folded. Ancona, Nicola Belelli Stamp. Description in Italian of a pageant in Rome in May With the names of 40 attending youths. List of Cardinals, appointed from to With allegorical engraving of St. Copy of a letter written by Chigi to Cardinal Piazza. Dated June 3, Copy of a letter written to Cardinal Piazza. Dated June 4, Printed pamphlet in Latin, with 3 engraved vignettes and 2 ingraved initials.

Speech of Cardinal Acquiviva, Philip V's ambassador, which he gave during the presentation of the flags captured by the Spaniards in battle with the Turks. The flags were presented to the pontifical altar. With Clement XI's response. Philippe de Genlis, Marquis de Langallerie. Interesting letter concerning the Marquis de Langallerie , a 17th century soldier of fortune, impostor, and adventurer. The letter states that the Marquis had proposed to the Aga of Turkey the settlement of a colony of Huguenots in Morea, that in the Hague he had proclaimed himself God's prophet, etc.

Orsini, Cardinal da Benevento. Copy of a letter written to the Duchess of Gravina, on March 25, Memoriale alla Sagra Congregazione de'Vescovi e Regolari. Typis de Comitibus, While films were produced in , only 80 were made in Popular utopia Popularity in the cinema is judged only in its most empirical form by box-office numbers and production figures.

What is striking is how often the transformation of public life wrought by the popularity of cinema is thought of as signalling a route to utopia; and not only in the opportunities allowed entrepreneurs for fast, vast riches. Analysis of interwar film posters, for example, shows how the promised experience is one that: As well as this they are rooted in the reality of a country which at least until the boom of the s was felt as having only partially advanced towards the industrialized modernity which gives rise to a differentiated working-class culture. Models of spectatorship that grant cinema near-mystical powers to induce conformity have left their traces — often problematically — not only on official mistrust of the form, but on discussion of the ideologi- cal effects of popular cinema, which will be discussed further below.

The uses of popularity The idea of a mass audience unified in a non-rational public experience has engendered much official desire to harness the imputed power of cinema. This desire is felt first of all in an aspiration towards artistic quality emerging from anxiety over the lack of cultural legitimacy of a popularly comprehensible entertainment born in the travelling fair. Italian conceptions of art exhibit the intellectual influence of Benedetto Croce, whose ideal- ist views endowed upon culture an improving purpose: They argue that during this period culture industries such as cinema were powerful forces at play within the public arena, where they fostered an increasing aware- ness for Italian audiences of belonging to a national community.

In fact, one can find a politics of opposition within the emphasis in the Fascist era on representations of popular, national, ordinariness. Gramsci calls for a new genera- tion of intellectuals able to produce culture for the people, but only fol- lowing a true process of identification of their needs.

For Gramsci, this culture must be permeated not only with popular sentiment but must be conducive to strengthening a sense of national belonging among the people. The national-popular, then, represents for Gramsci a political project for a kind of culture which the people might recognize as their own, which might make them feel part of one nation and which might lead them to their social and political emancipation. Here, Spinazzola makes a distinction between two categories of popular cinema: The former, for Spinazzola, are films which show the collective dramas and aspirations of the people and are to be considered the most commendable forms of popular cinema neorealist cinema ; the latter are films which privilege escapism, spectacle and serialized entertainment melodramas, com- edies, epic dramas , thus failing to fulfil the mimetic function of art that constitutes the basis for the formation of a collective will among the people The Fair and the Museum: Framing the Popular 9 While neorealism was felt to have failed to engage a popular audi- ence, the commercial cinema that surrounded it was seen for some time as a return to a cinema di regime of the kind that was believed to have upheld Fascism for an example of this argument, see Tinazzi, This understanding of the political function of popular cinema has come under criticism for offering a model of ideology as a form of displaced political domination […] This model fails to take account of the way in which ideologies […] involve people in a very active way, picking up on real not illusory dissatisfactions and aspirations and mobilizing them in support of this or that policy.

It also ascribes to ideologies a political instru- mentality and coherence which in real situations they rarely seem to possess. That is, [popular films offer] hope, hope in a better world. Framing the Popular 11 In this context of political engagement, national education and real- ist mission, the value of entertainment in its own right — a value this volume maintains — was met with palpable defensiveness.

Made between and , the Don Camillo and Peppone film series Figure 1. In other words, popular film was seen really to matter, to be an issue of daily moral, philosophical and artistic concern. The makers of the most popular films of the period engaged directly with debate to define the purpose of an entertainment form that had achieved greater reach than any other in history. Perhaps it is straying into an elegiac note to suggest that the relatively more detached scholarly analysis which this volume embodies is enabled by an extended period where cinema has simply not had the same cultural and political importance in Italy.

Within the context of such anxiety, it is popularity itself which is the object of criticism: It would be hard to criticize the radical project of Marxist-inspired film critics for expressing anger at acceptance of society as it was; what is of note, however, is how often film critics in the post-war era who took a position on the left were opposed to optimism itself. Popular, art, and auteurism The perceived popular failure of neorealism is itself a critical constructon which chooses to focus on the poor reception of La Terra Trema and Umberto D.

In finding reasons why, one can note that the dominant conception of popular cinema is of a superficial experience peripheral to the true centre of life. Added to this, the consumption model becomes a metaphor which is stretched to the point where it swallows up its orig- inal meaning. While it is true that film is a consumer item if viewing it involves buying a ticket to enter a theatre, this refers no less to arthouse cinema than it does to genre cinema. The metaphor aims instead to define a cinema that is identical to the last, which is ingested, and has a nutritional value; which, furthermore, is low.

None of this of course is literally true. In other words, the film industry establishes particular formulae and star personae with popular appeal but which develop as each new film invents different and unexpected situations. It is the work of cultural analysis to deter- mine and discuss which elements are repeated and which are different in any given artwork: The promise of new and fantastic productions marks a difference between popular cinema and the folk culture of earlier times, involving as it did repeated songs and tales produced live and non-industrially.

What is also worth mentioning here is how, in relation to Italian cinema, novelty has even been taken as definitional of the character of the popular during modernity: The constitution of popular cinema and its relationship to or exclusivity from art cinema occurs through the prac- tices of representatives of official culture as well as according to qualities intrinsic to the artwork. Framing the Popular 15 of judgements on the very category, criteria and purpose used to analyse popular cinema the division between art and popular being one which Galt re-considers in this volume.

The context of circuses, fairs and variety halls, in whose lineage popular cinema stands, offers a rather different perspective than those perspectives mentioned above which allege a failure to analyse reality. Is a film auteurist because it negates its theatrical and industrial origins? Is it evasive when it is not made for explicit political and pedagogical aims? To maintain this would mean to replace critical analysis of films with verbal formulae [and] ignore the fact that every representation is always also a transformation of the represented object […] , cited in Grande, The first aspect of this challenge was a reconsideration of the radicalism of neorealism itself see Cannella, This approach, Eco maintains, is preferable to the attitude of the critic who negates these products en bloc, thus leaving the meanings of their appeal totally unchallenged.

Our hope is that this volume will likewise chart some of the ambivalences of popular cultural production and reception in Italy. It is also when film studies became instituted as an intellectual discipline, alongside the development of Cultural Studies a term which is left untranslated from the English when discussed in Italian. As well as this, interest turned towards analyses of popular film by means of genre studies, its representation both of reality and of different identity groups, and of pleasure in the cinema.

Culture is here understood as a negotiation Gledhill, and identity as residing not in a supposedly authentic condition of the popular classes, but as being a social process in continual development and redefinition — not least through the prac- tices of culture itself Hall, To widen the scope of scholarship on Italian cinema beyond the auteur and neorealist canons is certainly an objective that this volume endorses. It does so, however, by being careful not to reinforce precisely that polarized film history that places the art film canon which has been allegedly studied over and over on one side and on the other the lower forms of film production that still need to be studied and appreciated.

Such an agenda mirrors too closely one of the major ways in which popular Italian cinema has been tackled, that is to say, through the politics of rehabilitation. This scholarly practice is based on questioning the dismissal of certain strands of popular film pro- duction individual directors, films or genres in order to demonstrate that they are much more complex if not sophisticated than was previously thought. In , the Venice film festival hosted the retro- spective Italian Kings of the Bs.

Introduced by Quentin Tarantino, the retrospective celebrated a range of low-budget films including horror films, polizieschi and sex comedies made between the s and s. Tarantino himself declared that Italian B movies had been especially influential on him, a point that he forcefully reiterated when he came back to the Venice film festival in to compete with his Inglorious Basterds.

So successful has this process been that the retrospective trav- elled to the Tate Modern in and Italian B movie directors Dario Argento in ; Ruggero Deodato in ; Enzo Castellari and Sergio Martino in are regularly invited to Cine-Excess, the annual inter- national conference on global cult cinema which takes place in London. The practice of rehabilitation is, nevertheless, far from unproblem- atic. In a recent essay, Raffaele Meale points out that the rehabilitation of popu- lar cinema represents one of the most important aspects of the recent critical debate on the state of Italian cinema.

This volume aims to move towards an open hypothesis about what popular Italian cinema may look like; we contend that the objective of scholarship on popular Italian cinema should be to engage with a wider variety of film forms that may count as popular entertainment whilst also interrogating the relation of these forms with the art canon see Galt, and Rigoletto, in particular.

Within the varied range of frame- works on offer for understanding the popular, care has also been taken not to forget the value of the projects of class and popular emancipation that have so enlivened Italian film criticism. A recent theorization of popular cinema can be found in La scena rubata by Paola Valentini, taken from the standpoint of three oppositions: The connection of film to other popular forms is made in the Comunicazioni sociali special edition on popular Italian cinema in the s.

In this collection, popular cinema is connected to the serialized literature of the nineteenth century through the pho- tostories of the cineromanzo Belloni and De Berti, , the post-war melodramas of Matarazzo to Catholic icon painting Lietti, , and, via the device of the voiceover in post-war comedy, to radio shows and popular pleasure in storytelling Villa, Framing the Popular 19 discussing some of the productive exchanges at play between popular cinematic production on the one hand and theatre, opera, fashion and variety on the other.

The multilayered relation between contemporary Italian cinema and television especially from the s onwards substantiates the useful- ness of this inter-medial approach.

One of the distincive features of Italian film production of the last forty years has been the potential of the films for repeated and intense exploitation on the TV circuit after their cinema releases. This is partly due to the Rai cinema-Medusa duopoly which, together with the American majors, controls over 80 per cent of the Italian film market. This duopoly is reflected in the even more powerful control that their sister companies state channels Rai and the Berlusconi-owned Mediaset have on Italian TV Ghelli, Bearing in mind the closeness between these two media in con- temporary Italy may be useful in unpacking the popular imagery that is currently consumed by film audiences nationwide.

Recent years have seen English language scholarship include popular genres within accounts of the history of Italian cinema. Similarly, it is now standard to include at least the popular cinema of the post-war period and mention of the filoni in any account of Italian cinema. An underlying claim within the volume here is that the popular is a field with manifold connections to a range of aspects of daily life which, as the history of the debates outlined above suggest, is continu- ally reconstituted in a permanent and always only partial process of redefinition.

Added to this, the chapters below seek not to take a filmic text as existing as an answer to a particular pre-defined need nor as pos- sessing a life of its own, pushing or binding the spectator. Film is instead the mid-point in a dynamic interaction between spectator and social context, one which helps construct new needs through the creative invention of emotional experiences that do not pre-exist the viewing of a film.

This results in an emphasis on film analysis in the scholarship contained here, performed alongside other aspects of new research so as to understand one principal aspect of film: The chapters that follow draw on a variety of methods of scholarship by academics based in Italian, United Kingdom and US institutions. He does so to ques- tion the bases of how we understand Italian cinema as popular — and whether we can understand it as such at all. His contribution thus acts as a companion to this chapter, completing an introductory section on the notion of popularity itself.

These are films which draw from popular genres and which have been very commercially successful both in Italy and abroad but which often circulate both nationally and internationally as prestige productions. She thereby contributes a major theorization, reconceptualizing aes- thetic categories and the relationship of popular to arthouse cinema.

He argues that melodrama formed the principal form through which, for a certain period, Italian cinema expressed seriousness. This seriousness can be seen through the aesthetic strategies of melodrama and in the relationship it establishes between cinema and other central aspects of Italian life — the family, the Church and opera, amongst others. Along with song and melodrama, comedy is another of the motifs present throughout Italian cinema.

Typically young and inetto, she considers how the processes of identification with this figure can be read against genera- tional shifts occurring contemporaneously in Italian society. Taking a different approach to gender and the cinema of the s, Alex Marlow-Mann in Chapter 8 discusses a prolific but rather intellec- tually neglected filone, the poliziesco. Towards a Re-Interpretation of Enzo G. Working from the philosophy of emotion provided by Robert Solomon, he proposes the possibility that rather than offering proto-Fascist responses to the crisis of Italian society in the s, crime films produce ambiguous possibilities regarding catharsis and justice.

In his analysis, he considers the relationship between bodybuilding magazines, American culture and Italian masculinity, probing what the different forms and fortunes of two film versions of the Hercules myth can tell us about changes in Italian society from the s to the s. Taking Bakhtin as his theoretical inspiration, he polemi- cizes for the cinepanettone as a playfully subversive and complex form. Maria Francesca Piredda focuses on a much lesser-known aspect of pop- ular Italian cinema, films made in the silent era by priests.

In so doing he charts the place of the mondo film in the transition from s liberalization into the modern media culture of Italy. A model of production that remained the main method of raising finance in the Italian industry. Framing the Popular 23 2. See Lottini, ; for the cultural distinctions operative in categorizing Italian silent films, see Brunetta, The Vatican maintained a vigorous interest in recommending or advising against films on moral grounds. Per un dibattito sul cinema popolare: Il caso Matarazzo Rimini: Guaraldi Editori , 9— Museo Nazionale del Cinema , — Framing the Popular 25 Belloni, C.

Jeremy Parzen Princeton, NJ: Guaraldi Editori , 37— La nascita e lo sviluppo del cinema tra Otto e Novocento Milan: Riti e ambienti del con- sumo cinematografico — Rome: Il cinema comico in Italia dal al Milan: Lumley eds , Italian Cultural Studies: Oxford University Press , 88— Miti, luoghi, divi Turin: Giulio Einaudi , — Fondazione Scuola Nazionale di Cinema. Della Casa eds , Appassionatamente: Edizioni Kaplan , 19— A Reader Athens, GA: University of Georgia Press , — Nowell- Smith, trans W.

Palgrave Macmillan , — Framing the Popular 27 Lattuada, A. Edizioni Kaplan , 44—9. Contributi per una storia culturale del cinema italiano — Milan: Il Cinema Italiano — Milan: Contributi a una storia della critica cinemato- grafica italiana Rome: Realismo, formalismo, propaganda e i telefoni bianchi nel cinema italiano di regime — Milan: Il cinema italiano e lo spettacolo popolare — Milan: Mosconi eds , Spettatori: Fondazione Scuola Nazionale di Cinema , — Vincendeau eds , Popular European Cinema London: Wagstaff eds , Italy in the Cold-War: Politics, Culture and Society — Oxford: Christopher Wagstaff Two things interest me in this chapter: Is it enough for it to be made in Italy by Italians, or does the investment in production have to be Italian too — and how do we determine the nationality of money?

Do the viewers also have to be in the majority Italians? And if it did, would that modify our interest in the relationship between audience and artefact? See Section 2 on issues surrounding the question of Italian nationality. Are we referring to the absolute monetary sums received at the box-office in comparison with other films, or do we measure it relative to the pro- duction costs of the respective films, or are we referring to the amount of profit or loss accruing to the production company, or do we try to calculate the number of spectators who viewed a particular film, and if the latter, over how long a period?

Section 3 looks at some of the impli- cations of trying to use box-office receipts to characterize audiences. Section 4 reflects on the historical dimension of the distinction between popular and mass cinema. Does this mean that there are elite films with artistic qualities, and popular films without them? And does this amount to an opposition between valuable films and inferior films, and whose interests are served by the existence of such an opposition?

If such an opposition really did exist, why would we accord scarce space in the economy of the educational curriculum to aesthetic objects of dubious value, if this entailed elbowing out of the programmes of study of the young people whom we are charged with educating those films which might challenge, stimulate and enrich them?

Section 5 reflects on the caution necessary when talking about different cultural levels of cinema. Once again, the intention is not to be polemical, but to shine a light on problematic areas. It is taken for granted from this point on that there can be a purely critical-aesthetic interest in popular cinematic artefacts which is not problematic in the least and the final section of this chapter comes to rest in that zone.

When we identify a group as the addressees of a film, are we identi- fying a target audience, or do we simply observe who went to watch a certain film or type of film, and make the assumption that this was the intended target audience? Do we know how to classify the people who bought tickets in the past to watch a film — that is to say, is any infor- mation available about their social, economic or cultural attributes; has anybody collected that information and, if so, how? Are we trying to learn from cultural artefacts about the subordinate and non-dominant classes in Italy?

Might we be studying a certain kind of cinema in order to pursue a vocation to emancipate the working classes originally one of the goals of Cultural Studies in the United Kingdom — see Section 6 below? Or are we instead simply trying to gain knowledge about how, why, and in what circumstances these films were made — so as to know something about the film-making and filmgoing taking place in Italy at a certain time? Are we assuming that the way we look at some of these films now, in our present circumstances, bears much relation to how Italian or foreign audiences watched these films when they were released; or do we feel the need to try and see the films as they were seen at the time — and is that possible a problem that has dogged Film Studies?

Has a reliable body of data on this matter been collected? Does our job as scholars permit us to define the object of study in terms of our own political, social, national, ethnic or gender-identity needs and desires, or does it require us to define the object of study strictly in terms of the certain knowledge we can demonstrate that we have about it? This issue is raised in Section 6 of this chapter. Section 6 discusses the distinction between the two alternatives. Here the bald questions end, and some of the issues covered by previous questions are picked up, illustrated and discussed.

The sum would have paid for well over a hundred Italian films at average costs, or over 40 prestige Franco-Italian co-productions. Considering that the entire Italian film industry was investing 30 billion lire a year in produc- tion and collecting 44 billion lire in receipts and tax refunds, then the significance of an American presence in the market amounting to 21 billion lire a year becomes enormous.

Hollywood can be seen as dealing with a contraction of its home market by quite simply incorporating its foreign markets into a sort of expanded domestic market. Low wages and material costs and European government subsidies reduced produc- tion costs, while the audiences which American movies had lost on the domestic market could be replaced by Italian audiences or even foreign audiences of Italian films made with Hollywood money.

It invested blocked funds in production, in technical facilities, in distribution and in some areas of exhibition. Between and Italy co-produced films with France; in Italy produced films, 75 per cent of which were co-productions, designed for wide, state-subsidized dis- tribution in at least two participating countries — a large proportion of Spaghetti Westerns were both made and viewed by more Spaniards than Italians.

On one night in , 11 million people in Italy watched Umberto D. Eleven million viewers in is a very big television audience indeed it is a great deal bigger than the Evening News on Rai Television. In the need for entertainment at the cinema excluded Umberto D. Immediately after the Second World War box-office receipts were collected, for the most part, in the first-run cinemas in the 14 major cities of Italy, on Sundays double the take of weekdays and Saturdays 20 per cent less than Sundays , and predominantly in winter.

Films distributed by the eight major Hollywood companies accounted for 50 per cent of those prime days. It is to be noted that 5 per cent of the films in circulation constituted 50 per cent of film shows, while 10 per cent of the films took 80 per cent of box office receipts. Moreover, the films that got to be shown in the right place at the right time earned far more than films that got shown, let us say, on a Wednesday in summer. The average expenditure on cinema per head of population in Lire Small Northern Town: Lire Large Southern City: Lire Small Southern Town: Lire For the year , average ticket prices: Lire ; average ticket price in Agrigento: The growth of exhibition in post-war Italy took place proportionately more in smaller centres and rural areas than in the major cities.

These smaller centres with their lower ticket prices very much lower than in provincial capitals: To the popular cinema belong works destined to be consumed by the lower classes exclusively; the mass cinema is instead designed to unify the public, bourgeois and proletarian, and therefore appears to have an interclass value. One derives from a small-scale system of production; the other is a product of a more advanced industri- alization. To begin with, films were shot and projected by the same person who supplied the venue and the machinery.

They were a fairground entertainment. This high cost needed to be mortgaged over large ticket- paying audiences. But bringing a highly flammable material close to a bright, and consequently very hot, source of light, raised dangers for large audiences collected in enclosed spaces, and venues required expensive projection-boxes usherettes were not an extravagant way of getting clients to their seats, but a necessary aid to getting them out of the building when the place caught fire.

The innovation of hav- ing distributors who purchased the film from the producer in order to rent it to the exhibitor brought down the cost of the film.

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All the other innovations in the cinema required increased investment: Italian and French cinema confronted the problem by raising the cultural level of their films, and in parallel with that their quality. In the earliest days English producers, with one of the smallest home markets in the world, were said to put out a weekly total of new films which was the largest in the world. This complete dependence on their foreign trade was justified when foreign producers were unable to supply their devouring markets unaided. But this ceased to be so after […] One is left with the impression that in Britain the film had to overcome the resistance of a particularly inelastic social and intellectual pattern.

In France and Italy the film might be a younger sister of the arts, in America art itself. In England it was a poor rela- tion, and, moreover, not a very respectable one. If Cabiria exploited art and culture to develop a mass and international audi- ence, at the same time it produced an offshoot, the Maciste formula, directed towards a smaller and for the most part domestic popular audience. We cannot conflate the popular and the mass, nor can we oppose the art cinema to a cinema for large, diversified audiences. Indeed, an argument can be mounted for the boundary of the popular being the physical space embracing performer and spectator, in which voice, body-movements and physical contact live music and dancing would be an example are directly experienced historically: Suspect, but not impossible.

The blues offers an interesting example. In the s and early s Charley Patton and Son House were undoubtedly popu- lar musicians, operating in a popular cultural context juke joints in the state of Mississippi. As a form, the blues is so rigidly formulaic that its realization is necessarily auteurist, relying, as does jazz, on individual and one-off improvisation.

The performance of a song written and sung by a black Southern farm worker for fellow and contemporary black Southern farm workers is a very different phenomenon from a performance of that same song re-hashed by middle-class art students and merchan- dised by a capitalist commodity producer for a middle-class European teenage audience forty years later. If pizza served and eaten in the quartieri spagnoli of Naples is popular, at the Savoy Hotel it is not. A song only exists in the singing and listen- ing. A pizza only exists in the cooking, serving and eating. The films were thoroughly denigrated for their popular qualities by northern critics at the time: No, no, in the name of God, never should these spectacles be repeated in an elegant theatre, a theatre like this, centrally located and with such a glorious past!

No, in the name of the good name and propriety of our national cinema! La rivista cinematografica, Let us illustrate this with a quotation from a justly famous essay by Stuart Hall: Popular culture is one of the sites where the struggle for and against a culture of the powerful is engaged: It is the arena of consent and resistance. It is partly where hegemony arises, and where it is secured.

But it is one of the places where socialism might be constituted. In the material analysis, we try to remain aware that films are com- modities designed to meet the needs of the production, distribution and exhibition sectors of an industry which is enormous at the exhibi- tion level, but relatively tiny at the production level. Production exists only in order to serve, and only inasmuch as it does serve, exhibition.

Italian genre films of the s and s gave — and I tried to elaborate a theory of this — quantitative gratifica- tions: This is not qualitatively different splatter from other splatter that of Hollywood , just the same splatter but more often. Like Coca-Cola, you cannot make it nourish you; all you can do is consume more of it. This is the function of a film in the exhibition sector of the market: The function of film A is to get the consumer to return to the cinema to watch film B. Its function is not to meet some hypothesized needs the consumer might have, but to stimulate repetitive consumption.

A deeply rooted conviction holds, instead, that cultural products must meet the needs of the consumers in order to generate exchange value: Where Italian cinema is concerned, this conviction fuels the insistence that it is possible to deduce from the themes of films that successfully sold tickets what social needs were being met of the consum- ers who viewed them.

This conviction has a distinguished Gramscian pedigree later inherited by the Cultural Studies movement in England. It is a story dear to popular audiences, which are drawn immediately to side with the young couple against the arrogance of the powerful man. The villain is very often the lord of the region, a tyrant, and the beautiful girl a member of the common people ruled over by him. Behind the tearful emotional involvement of the public there is always a feeling of solidarity with the oppressed: The common man of the people, who every day submits to the injustices of the powerful, identifies with the character of the oppressed, who becomes his own implacable avenger from the Count of Monte Cristo to the various characters played by Amedeo Nazzari today , and directs his desire for rebellion against characters in books or in films.

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If it were so easy and within the reach of anyone to emotionally arouse an audience, gold and diamond mines would become banal gambles compared with such a sure source of wealth. Italian silent cinema is known throughout the world for its ambitious historical dramas and its high-society melodramas, films directed not at a popular audience at all, but specifically designed to raise and expand the social and cultural level of cinema-going to encourage and justify investment in the industry.

Despite problems with the censor after being widely shown in , it was cut and redistributed in , it was so successful with the public that in it was given a soundtrack and re-released. But before that it was watched by Federico Fellini: What was the first film for me? I watched it while in the arms of my father, standing up in the midst of a crowd of people, wearing a sodden overcoat because it was raining outside.

I remember a huge woman with a bare midriff, her belly-button, and the flashing of her fierce eyes heavily made up. With an imperious gesture she conjured up around Maciste, who was also half-naked and holding a dove, a circle of tongues of fire. The three different foreign models which were scrutinized quite seriously for what they had to offer in Italy were, in turn, Mosfilm in the Soviet Union, UFA in Germany and Hollywood in the United States delegates visited each and reported back.

The problems they faced were multiple. The Soviet model targeted the proletariat, whereas the only readily available audience for Italian cinema was the urban petty bourgeoisie. In fact the majority of these comedies originated in the theatre, and not even in Italian theatre, but in Budapest. Various figures during the inter-war period envisaged a popular cin- ema, offering a popular reflection of popular life for a popular public though not a rural one.

A film that exemplified this aspiration would be Treno popolare, directed by Raffaello Matarazzo in It was not until after the Second World War that the cinema overtook economically all other leisure activities including sport put together. Until then, music hall and variety theatre held a strong place in popular urban culture. Whether the impact of so-called neorealism on the world derived from Rome, Open City is for others to decide.

I see the birth of neo- realism further back: Who can deny that it is these actors who first embodied neorealism? Gonzo ha anche prodotto due episodi OAV , i quali sono stati pubblicati insieme alle edizioni limitate dei volumi 26 e 27 del manga originale. Inizialmente si sono espressi in maniera positivi nei confronti dell'opera di Seo, lodando la presenza di un protagonista realistico, salvo poi riportare le stesse critiche di Manga-News.

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