Italy in early American cinema : race, landscape, and the picturesque

著者

書誌事項

Italy in early American cinema : race, landscape, and the picturesque

Giorgio Bertellini

Indiana University Press, c2010

  • : hbk
  • : pbk

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注記

Includes bibliographical references (p. 375-420) and index

内容説明・目次

巻冊次

: pbk ISBN 9780253221285

内容説明

Giorgio Bertellini traces the origins of American cinema's century-long fascination with Italy and Italian immigrants to the popularity of the pre-photographic aesthetic-the picturesque. Once associated with landscape painting in northern Europe, the picturesque came to symbolize Mediterranean Europe through comforting views of distant landscapes and exotic characters. Taking its cue from a picturesque stage backdrop from The Godfather Part II, Italy in Early American Cinema shows how this aesthetic was transferred from 19th-century American painters to early 20th-century American filmmakers. Italy in Early American Cinema offers readings of early films that pay close attention to how landscape representations that were related to narrative settings and filmmaking locations conveyed distinct ideas about racial difference and national destiny.

目次

Acknowledgments Introduction: Transatlantic Racial Culture and Modern Visual Reproductions Part 1. Picturing Italy's Natural and Social Landscapes 1. Picturesque Mode of Difference 2. The Picturesque Italian South as Transnational Commodity Part 2. Picture-Perfect America 3. Picturesque Views and American Natural Landscapes 4. Picturesque New York 5. Black Hands, White Faces 6. White Hearts 7. Performing Geography Afterword: "A Mirror with a Memory" Notes Filmography Bibliography Index
巻冊次

: hbk ISBN 9780253353726

内容説明

Giorgio Bertellini traces the origins of American cinema's century-long fascination with Italy and Italian immigrants to the popularity of the pre-photographic aesthetic - the picturesque. Once associated with landscape painting in northern Europe, the picturesque came to symbolize Mediterranean Europe through comforting views of distant landscapes and exotic characters. Showing readers how this aesthetic was transferred from 19th-century American painters to early 20th-century American filmmakers, Bertellini moves from the picturesque in silent films to the Godfather trilogy, perhaps the definitive example of the picturesque in modern cinema. "Italy in Early American Cinema" offers readings of early films that pay close attention to how landscape representations that were related to narrative settings and filmmaking locations conveyed distinct ideas about racial difference and national destiny.

目次

  • Acknowledgments Introduction: Transatlantic Racial Culture and Modern Visual Reproductions Part 1. Picturing Italy's Natural and Social Landscapes 1. Picturesque Mode of Difference
  • 2. The Picturesque Italian South as Transnational Commodity Part 2. Picture-Perfect America 3. Picturesque Views and American Natural Landscapes
  • 4. Picturesque New York
  • 5. Black Hands, White Faces
  • 6. White Hearts
  • 7. Performing Geography Afterword: "A Mirror with a Memory" Notes
  • Filmography
  • Bibliography
  • Index

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