Intervista ad Eva (Italian Edition)

INTERVIEW WITH MAURO BIGLINO: The Bible doesn’t talk about God
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Those matters are a little like a poison: we need to give them to the children little by little to establish an immunity, so they would have the ability and mental strength to resist. In a way, the poison can be the medication at the same time, and I believe that the more we know about those things, the more we can protect ourselves against specific matters. Among Japanese fans, Rei is the most popular character from this series, and I asked him why. In Japan, I suppose that girls like that are very much desired. As for Rei-chan, she was created as a pilot for Evangelion… in other words, she is a clone of a human being.

When we humans are born, in general, we just show up without having a purpose in our human life! Later, we find a purpose and choose our own way and decide how to live our life. He takes drastic and extreme measures by fair means or foul, or by hook or by crook, in order to accomplish his own purpose. He hardly cares about Shinji. Reading romance novels seems to help a lot. Basically, he says he practices no religion, but he believes in the human spirit. I only took a course about it at university, but I suppose I always had something in my mind to analyze human psyche.

So, I started reading books on psychology. I wrote about myself. My friend lent me a book on human psychological illness and this gave me a shock, as if I finally found what I needed to say. They were not anime fans. In fact, many of them are females and they tell me that they really enjoyed episode 25, objectively.

Most anime fans are furious. I understand their anger. No staff members did a lousy job. Personally, I think the original TV version we showed ended beautifully. The design concept in Eva was that the characters themselves should lean towards a relatively subdued appearance. But the plug suits! Gaudy as hell. But this… this, I had to see. Specifically, I had to see the girls in sky-blue wigs, wearing white plugsuits. I had to see it. To that extent I feel like [the work] did not arrive [at reality].

Steadily the number of people taking refuge [in the work] increases, and if this keeps up, in the extreme case, it would become a religion. It would become the same [situation as with] the Aum adherents and Shoko Asahara. Perhaps, if I did things correctly, I would have had the potential to become the founder of a new religion, but I hate [that idea]. For clutching at straws [lit. The sudden abandonment of the narrative conclusion and puzzles of the fictional world that had been constructed up until the 24th episode, brought about an intense shock in animation fans….

On this point, the work has a striking feeling of the present. However, the thing that we should pay closer attention to is the paradoxical whereby feelings of anxiety are always determined materialistically, but for the people who are caught in the center of this kind of anxiety, they can only experience it abstractly…. One of my friends who is from Poland described his completely accurate impression of Rei as being related to the problems of post-war, in other words Rei is linked to the problems of Bosnia,etc.

At the same time I thought that the room overlaps with a science laboratory, particularly a medical laboratory. And these two types of autism are nothing more than the opposing gender extremities of post-modern decorativeness. The countless devices of this type means that Anno started the broadcast after conceiving the total structure pretty clearly [indeed? Actually, the speed of the narrative development of numerous foreshadowing in the first few episodes indicates that his work was made by reverse calculation of a precise, total construction.

The flavor of the episodes of the first half is consistently the same. Some comical episodes after the 8th episode are considered within this consistency. This story revived the genre of animation and at the same time, clarified the limits of the literary imagination…. The countless devices of this type means that Anno started the broadcast after conceiving the total structure pretty clearly. This story revived the genre of animation and at the same time, clarified the limits of the literary imagination. According to Anno himself, this change of attitude came about while creating and producing the work.

After all of the episodes were broadcast, in what looks like a self-tormenting, auto-destructive critique of anime fans that ANNO would repeat many times in radio interviews, specialty anime magazines, etc. But ANNO is completely different from them on two critical points. This means that for ANNO, he deliberately cut off communication with anime fans who supposedly can only appreciate works by identifying themselves with and investing their emotions into the characters….

By employing difficult lines and the omission of mise-en-scene , quick scene shifts, and busy cuts with few frames in animation this is extremely luxurious because it requires a new illustration for speeds less than one frame-per-second he manages to condense the narrative which would usually have required several episodes into one. For example, Rei dies in the time of just two minutes. We are overwhelmed by its speed. On the other hand simultaneously Anno will one after another invert riddles in the second part of the story that had been solved in the first half.

Therefore, if we only watch an episode only one time, the plot will be almost impossible to follow. In other words this means that ANNO completely disregarded the age of the viewers who would have been expected to be watching at that broadcast time following the rules of the televisual medium.

How did he accomplish that? Instead a density and strange necessity arises. For example in episode 22 there is the unfolding of an incomprehensible story as Eva brings down the angel on a satellite orbit only by the throw of a special spear. A rational explanation is not even provided inside the story. But certainly the unfolding of the story possesses a certain inevitability with the flow of the scenes. To put it boldly, from episode 17 until episode 24 but especially in episode 18, 19, 22, and 23 at the moment when that condensed unfolding reaches its highest point, he several times makes me thing of GODARD.

That is not an explanation related to the quality of cinema itself. Of course ANNO himself does it. For instance using lots of subtitles. Numbers-kun translates part of the interview:. It might be a pyramid, a ring of light, a virus…. Anno: They were paradoxically presented as things without form.

The adults of the previous generation taught us that, despite fighting against the system, they were not able to accomplish anything. Anno: Aum is part of my generation. I understand them well. The people who joined Aum did not do this. Hating society, they cut themselves off by their own volition. Even though there was, to a certain extent, some talent there, overall I had no sympathy for the organization.

Omori: However, [Ryu] Mitsuse-san is more governed by something like an Eastern sense of the transience of things, but the world of Evangelion is more along the lines of Western civilization……. I would have been scared to. Omori: No question. Because you have no attachment to [Christianity], you can make use of the names of the angels without being concerned. Ah, [you can use] these names because the word makes a strong impression, for example.

Well, there is a single American [see the Michael House interview for his version] in our company, and he scolded me about various things. But I did those things [anyway], I think, without taking any notice of that. Check the second last color page of the filmbook Vol. This ending is just one shape, one possibility out of many. The literal translation is:.

Misato stretched out her hand to Shinji. At this time she may have intended to offer her body to comfort Shinji. However, this was merely substitutive behavior in order to assuage her own loneliness. Okamoto O said that he watched Evangelion twice though he watched the ending first. He did not understand at first but later knew why once he watched the whole series.

O - Gunbuster is easier to understand. The final episode in the second video is black-and-white. A Anno - My generation was the age when black and white moved to color. I would like people living now to see how great to have color. That was 35 monochrome. O - But development cost is high. In the past development solution for black-and-white was always available. Now you need to order it first and then they make the development solution. For black and white, they told me to give them 2 days and it became a problem to me schedule-wise. If there is a rush, they would not get it done unless they have 2 days.

But the ones he watched most are The longest day of Japan and Battle of Okinawa 5. He even played it as BGV [background video] when he was doing storyboarding at one time, and then slowly his attention was drawn to the video and ended up spending 3 hours watching it. Then Okamoto talked about his filming Battle of Okinawa in Okinawa and the problem with lack of manpower and resource, ended up doing one of the characters. But Anno said anime and real life both have aspects that the other side may envy. For example in anime, the camera does not move, and the shadow and body motion needs to be made realistic.

Even with CG it has become easier, it still has that CG feel. Anno then said for anime the main work is still about fixing the motion. Scrolling and wrapping the background is particularly inefficient. And then Anno talked about frame aspect ratio — love Cinescope and miss its disappearance. Hate standard ratio and also not like Vista. He loves the way when Cinescope aspect is used audience have to follow the scene by moving their heads which is something not possible with TV watching. Except that Anno mentioned the fun thing with anime is that the photographer doubles as the actor in anime and in real-life you never see cameraman doubles as actor.

Very technical talk about how many frames of films to use for one blink. Anno said frames, if he does not want the scene to get noticed, he put 6, if he wants to make sure it gets noticed he put at least 9 frames. And he said that if it is familiar and static scene, even 2 frames can leave an impression. But if it is fighting it needs frames. Took 12 frames in film, cut may be , depending on how the pictures look. And of course in dialogue how to cut is already predetermined. He said he spent 12 hours to cut 20 min of animation. The longest time took him 24 hours. A - In the case of anime, the acting and performance usually does not take that much into account.

One reason could be the character design.

intervista a EVA MARIE

The eyes of the characters usually stress on the details of the eyes and this make it difficult to put acting by using line of sight. However, in Eva the character design is comparatively easier to do such acting, so I put some effort into that. Like where the character is looking at in that scene, or whether the audience are going to see the eyes or not….

Because it is so fundamental I took great care about it. As I am influenced by director Okamoto, I used camera line of sight more than usual. O - if possible, line of sight should be on somewhere close. And on direction, A would look at B and then speak, and B would look back at A in reaction. It has to be like that…. A - for me, camera line of sight is often on the front.

The drawing staff usually hates it. Drawing frontal face is more difficult and often it could not be done well. But if the line of sight goes the other way, it becomes hard to use it to act. It is easier to frame the position of eyes of the characters if it is a front to front exchanges between the lines of sights of two persons. Anime is at the end a 2D thing so the amount of information is limited.

When it is cut to a new scene, the audience will try to search for something to focus, and if it is a face, it will be the eyes they look first. So when the eyes have expressed the information, you can cut to another scene already. In TV anime, static scenes are many. I think this is the proper way to go.

Although I think acting by eyes is very important it is also very tedious. And then I get a bit irritated. A - That has many physical reasons. If we do not make the eyes big and treat it as a symbol for the characters, it will become difficult for many to draw. A - true, but as the end we only have the drawings to fall back on. If we overdo that kind of serious acting, it carries a risk of looking ridiculous.

Character Design is a difficult thing. About Director: Skipped the part about old time directors and struggles with studio about rights to edit. Except Anno said that for anime sometimes it needs to do editing without having all drawings. But he thinks editing is fun. Gather extra cuts and then try to experiment by switching the cuts or rearranging order and that is interesting. And even the question of whether to cut 2 frames or not can make a difference. A - He is a despot. Nothing can move forward if we have to wait until someone else makes a decision and approves.

Also the personal character would not come out. In anime, a overall design called storyboard is made from the very beginning. And the production system is based on that design, so it is easier to unify opinions. O - since we are on it, in Gunbuster and Eva last episode, there are parts in black and white, that flashback, that kind of stood out. It used quite a bit of sketch like drawings. Did the storyboard also cover that? Anime vs real-life film: Okamoto said real-life is not necessarily better.

Anno said many anime directors want to do real-life. Many simply put drawings in place of real-life images and they seem to want to push anime to look closer to real life film. And both think it is not a good idea. Final comment by Anno - Animation is a kind of static world, but there is a yearn for thrill when it switches from one static world to another static world and that cut to new scene is a most efficient way to get such thrill. A - in a TV anime, 30 min of video has a limit of pictures. So the images cannot move as much as I want. And how to squeeze out the best from the image in such lack of motion, it is all in the cutting.

It was truly the first time I cried out and my shoulders shook from weeping due to an anime. The first time it struck me was episode I was like, uwaaaaaa…. It was like that was the first time it hit me. Up to that point I had thought it was just an entertaining anime, but I felt that this was my own issue.

Anno : I had intended to recap the series in the first half of the episode. When I did the second half, I had long forgotten to explore what sort of person Rei was, so [I believed] it was necessary to develop her. The script for episode 16 had been written before that. In the original conception, the languages of various countries and the cries of various animals and miscellaneous noises would appear on the screen; [selecting from] among these, the angel would finally hit upon Japanese.

Anno : As far as that goes, I thought it was fine, but then when [the angel] speaks Japanese that was the end [of my conception]. When I wondered, well, what will [Shinji] do after he gets taken into the angel, I wondered if this might be [his] chance for self-reflection. That went relatively smoothly. When it came to Rei, I was completely blocked. Finally, I thought, when writing madness, one has no choice but to become mad. At that time I consulted a bit with my friends. When I read the poem I had a strong impression, as though this was the first time that I had come close.

I had a feeling like a light glinting upon the tip of a sharp knife. It was certainly not the feeling of an ordinary man. That was good. There was something that inspired it, but it was completely different. It seems to be a famous poem. After the television broadcast finished, I became worse and worse, and went to see a doctor. I even seriously contemplated death. Without the slightest exaggeration, I had put everything I had [into Evangelion].

After that finished I realized that there was nothing [left] inside of me. When I asked [the doctor? At first I was manic, but I rapidly developed a severe depression. At work, when I go to the bathroom, I go across the studio, I have to encounter people. I just wanted to think by myself, so I returned home for the first time in many months. She began working on Eva dojinshi during the series.

Nobi is asked about her theory that the artists and viewers are locked in battle. She felt that she was in a battle with Anno. Anno thinks his first battle was with his staff In junior high school, Anno had a friend - nowadays, he says, you would call her a girlfriend - named Ritsuko 15 , who had a major impact on his life and introduced him to sci-fi and shojo manga. Devilman and Evangelion. Nobi sees similarities between Devilman and Evangelion.

As a result Shinji questions his self-identity. In the end, the foundations of human identity are overthrown. Anno says that the similarities to Devilman in this sense were unconscious; he noticed them afterwards. Evangelion follows the pattern of Ultraman and Devilman, in the sense that an enemy is defeated, but the power of that enemy is absorbed. Human beings make a copy of the angels, and then combine it with the human heart or mind. Anno and Miyazaki. Anno was asked to write a commentary for the Studio Ghibli box set; however, in it, he criticized Miyazaki.

Anno and Miyazaki are basically at one in their approaches; however, Miyazaki aims for a broad appeal, and Anno does not. Anno wished that Miyazaki would stop making anime and focus on the Nausicaa manga. Miyazaki struggled greatly with how to end the manga; now, Anno completely understands how Miyazaki felt. According to Anno, Evangelion ended up being a cross between Devilman and volume seven of the Nausicaa manga.

Nobi was deeply moved by the Nausicaa movie when she first saw it, but less impressed after reading volume 7 of the manga. The darkness of the manga is eliminated in the film. Anno only makes works for himself, and not for an audience. However, making works is still the only way he can relate to other people. They decide by themselves how they react to it. When he was young his ideal sort of food was what astronauts would take into space. He stopped eating meat at a young age.

When he was in his second year of elementary school, a teacher made him stay behind until he ate his meal. At 8PM the teacher gave up. He would rather have died than eat that meal. His body is no longer accustomed to eating meat, and now the taste makes him physically sick. He has very little desire for food or money. His sexual desire is average. Cel Anime and Expression. However, Anno feels he could not portray human relationships well because of the limitations of the medium, which he discusses.

The Production of Eva. The script for the first episode took half a year to complete He was stuck after that, so he wrote episodes 5 and 6, and then came back to episode 3. He felt he had to go beyond regular TV anime in developing realistic characters in episodes 3 and 4. However, the first six episodes left the staff drained and feeling weighed down by the heavy mood, so he felt it necessary to lighten the feeling of the series for episodes 7, 8, and 9.

This early stage of production took 4 or 5 months in total; the storyboards were done in two months. However, the schedule became more and more constrained. The series was only finished thanks to the supreme efforts and talents of the staff. Episode 26 was completed in only three days Episode 24 was put together almost entirely by Masayuki alone in the space of three weeks. He was loaned a magazine-like book on mental illness that contained a poem by someone who suffered from a mental disorder, and that triggered his imagination.

He no longer wanted to see people, and climbed up onto the roof of the Gainax building to see if he really wanted to live or to die. In the end he wanted to live, but after making Eva he felt he had nothing left inside of him. Nobi is not sure that female manga writers will be able to match the imagination of the male authors. Only a single scene remained. Group Mentality. Nobi was irritated by male Rei otaku at Comiket. Anno emphasizes with her irritation. Anno says that Aum demonstrated that some people are driven to be a part of a group.

Anno realized how easy it is to become a cult leader. However, the problem is that human beings also cannot live alone and must somehow depend on others. In addition, people nowadays, including Anno and Gainax, make and use film and anime as a kind of drug. I assume these quotes are from Anno, and also came from the interview. There Anno says that the image of opening an AT field is one of violation. It is based on the tearing of clothes. Clothes are the most basic form of protection for human beings.

Later on Anno wondered what the meaning of it was. He later felt it was the barrier of the heart or mind. It protects what is most valuable to human beings. The difficult thing [when creating filmbooks] is to establish rules as to how much to write — How much information which is not explicitly stated in the work secret settings, etc.

How far is allowed? This is because these criterion are rather subtle and vague. For example, there are cases where it is okay to publish facts settings [ settai? Asked on EGF. I mentioned that it actually appears three times in different forms, and gave the citations. The implication was that they were considering quoting it in the final episodes. It is indeed amusing to see the success of animation abroad, but I think that fans everywhere have the same tastes.


Animation is a universal language. They are not really humans, they are only a sketch on a piece of paper, incapable of doing anything really, and [they are] out of the reach of their fans. For example, when a boy makes love with a woman in an anime, it is only part of a scenario, it is nothing more, and the fan knows, he steps back from what he sees. HA: You need to understand that Japanese animation is an industry that is, for the most part, male, and as is quite evident, everything is made for their gratification. Further, it is more gratifying for us to draw this sort of character, rather than old grandmothers.

Characters in animation do not cheat. They do not let you go for another. Animation is on certain points, very close to the pornography industry. All your physical needs are met. You can watch different animations and find anything you desire. HA: I am not familiar with many things in Christianity, and I have no intention of approaching it or criticizing it either. AL: Imagine that a European company decided to buy the rights to Evangelion , and to change certain scenes because of religious concerns.

Would you agree with censoring these scenes? After all, this series was made for a Japanese audience. HA: Actually, I think that some censorship is necessary, but it is not normal that we should be ordered by a conventional [literally, bien-pensant ] minority. I do not think you can get away with anything for the so-called well-being and protection of children. AL: Violence seems to be more admissible for these people than the notion of sex.

HA: The legal context obviously differs between nations and eras. The only universal constant is the thirst of humans for sex and violence. We need to try to manage this without falling into the opposite extreme, and brainwashing. Films are extremely influential and powerful, especially as propaganda tools. I used components that I liked and that appeared to me necessary to advance the story. I also worked in concepts that were popular at the time.

When I hear the criticism from fans about the end of Evangelion , I really wonder if we can say that I have as good a knowledge of the environment as you seem to say. HA: I was inspired by Japanese demons [ oni ]. I gave them a modern appearance, but such characters have been around a long time. AL: It seems that there exists a sort of recurring message in your series, that one cannot live alone, or even separated from a group or ethnic identity.

Why this message, addressed to otaku, who live at the same time in a relatively separate world? HA: You can find whatever message you want to find in any film or series. I have not wanted to pass on this or that message in particular, but the fact that you reflect on this is a good one. I made Evangelion to make me happy and to make anime lovers happy, in trying to bring together the broadest audience possible. The connection is unclear - did Man-ga! Our aim was to be the antithesis of all the giant robot animated shows around us.

Especially in the past one or two years, this type of refractive, feminine character has not been seen. A happy face — that is the figure of the Complemented Shinji. This conclusion is also one form, one possibility among many. How this could be possible in our modern world? And all this we speculated in the name of religious belief?

What about free speech? How could a legal system go along with this? Well, maybe it did not and the TV station censored the show itself to avoid offending certain sensibilities. We cannot really know where the truth lies. He avoided the subject of censorship and skillfully defended his work. His point of view made sense and he made some interesting comments about the Internet fans who excessively criticized the show. Because of their information on the Net, they feel they know everything without searching the real truths. Shinichiro Inoue. He encourages people to send comments and questions to Anno-san by writing to: Mr.

Whatever the story or the development of the characters, I made them without a plan. During the production, whether listening to various opinions or analysing my own state of mind, I kept questioning myself. I got the concepts from this personal stocktaking [self-assessment]. At first I had intended to make a simple work featuring robots. But even when the main scene became a high school, it did not differ compared to other productions in the same style.

At this point, I did not really think of creating a character with two faces, two identities: one shown at school, and the other inside the organization he belongs to [Nerv]. The performance ended with the TV broadcasting ending. We only started working on the next script once the previous one was done.

It took longer than usual. When we finished a screenplay, we went back and checked it against the previous ones. In fact, with the last episode approaching, we have not even been able to finish on time. He lives alone, but is attached to others. In past centuries, he would soon celebrate his coming of age. Back then, life expectancy was fifty years, so people had to grow up in fourteen years. Today, we live more than seventy years, and although the age of majority in Japan is twenty years, most people still depend on their parents at that age.

In the world of Eva, the human population was cut by half, but as a rule, we can say that the worlds where the population has been decimated are typical of cartoons. I think worlds isolated and torn to shreds, where because of a past disaster humanity has been decimated, are characteristic of Japanese animation. It looks like an army, but it is not one. I did not want to make a military group. I think she is more adept at many other things…Hence when we look at them, her strategies are a little haphazard. Nothing but luck. Honestly, the only person who plans her strategies a little bit is Ritsuko.

I think we should live more fundamentally [essentially]. In our current material security, the problem of the heart becomes a very current topic. But as far as the original stories of episodes 25 and 26 the last ones , I managed to finish episode 25 as far as the script was concerned. Unfortunately, I had to abandon episode 26 while it was still at a very early planning stage.

Episodes 25 and 26 as broadcast on TV accurately reflect my mood at the time. I am very satisfied. I regret nothing. It would be the following week. In essence, there remained three days in the schedule. Without cels, we made do by using the sketches of the storyboard in their place. In any event, we ended up doing without animation on cel.

Cels are symbolic representations. After having drawn Asuka with a marker, as soon as Yuko Miyamura gave it her voice, it was more Asuka than ever. I even came to detest myself for having wasted time on cels at all [until then]. I just wanted to show that, as far as animated drawings as a means of expression went, using sketches could work. To destroy at all costs the kind of ideas that I myself had held.

A cartoon is composed of simple signs and therefore from the outset, it is a fake world, right? Nothing but an optical illusion. I think the deconstruction of these signs is rare in cartoons that are shown on TV. When we aired our line drawings, some people in the industry called our work shoddy, even though it was impossible to consider it such. Because they are locked in their rooms, they hang on to that vision which is spreading across the world…On the message boards [Internet] someone can still make a rebuttal, but this remains at the standard of toilet graffiti.

One does not need to sign it. It quietly arrives directly at your door. If we had not set the tone, completely outlandish rumors would have emerged. I realized my own hypocrisy when I let myself be convinced that, not knowing our financial situation, this kind of talk was only fair. Whatever they say, I do not think you can see other negatives in Evangelion!

Laughter By not paying attention to childish ideas which they are subjected to, we take the anime-fans for being stupid. They do not leave their [comfortable little] world. They feel safe. They have nothing solid in themselves on which to rely. Why can I say that? Well, I noticed what I was missing for me, in my heart. He seemed embittered, and quickly lost patience with the fans. For more details, check our report on Anime Expo in the next issue. To be continued.

Anno interview in June , mentioning draft material of Kaworu episode 24 see previous section :. These 3 books were published ; they seem to be nearly-final drafts - they include a number of dialogue changes and occasional deleted scenes. This is a pity because some changes are quite interesting, like Rei I surviving. Seventh Messenger , episode 1? I wonder why. Seventh Messenger notes this latter line is not mentioned in any footnote either, indicating it was added very late in production.

Nanashi , as part of a NGE TV chronology, copies out the dates Episode 4 specified before they were cut from broadcast possibly contradicting other chronologies like the Rei Ayanami Raising Project calendar :. CuSO4 confirms that episodes 13 and 14 were mistakenly swapped. Seventh Messenger , episode 14, variant synch-ratio line by Ritsuko Akagi. Seventh Messenger , episode 19, some tech jargon. Nanashi translates the episode 20 scene notes for Shinji reforming out of LCL. Seventh Messenger , episode 21, variant techno-babble line by Naoko Akagi.

This is worth quoting in full:. Akagi regains her senses. She looks around but Dr. Akagi is nowhere to be seen. Nothing remained where the corpse of Dr. There was blood on the cover of Gaspar. Come, [clone? Keel: The Angels who were the Children of Adam have all perished. Only the final Angel - humanity, us - remains. The promised day has come. Because of this, the complementation of the heart and soul continues. From the Renewal box-set extras, a pre-production image of the scrapped original TV episode 25, showing that the EoE scenario was not an afterthought:. The EoE screenplays that we have archived on the site were written after the TV show, in its original form, was completed, and apparently in tandem with the development of the DC additions.

The television broadcasts were finished two months ago. As a matter of course, there was also a big reaction to the interview with Anno Hideaki in the June issue of NT Newtype. It seems like bunches of letters are delivered to the editorial office daily for Director Anno, which he is reading little by little as his busy schedule permits. However, despite being made as a group operation, there are TV series that are colored almost entirely by the personality of one individual.

Being able to come across works that can be contemplated is an irreplaceable encounter. Works that are just to been seen and enjoyed. Those are also probably necessary. While keeping its entertainment value as a piece of work, it also offers enjoyment that the audience thinks about. The Eva Boom that you all know about proves that. Everyone is starving for thinking. And the story pregnant with riddles concluded, for many of the audience members, still pregnant with those riddles. However, this is also certain proof that Eva draws people in. It is the creators who have to change their frame of mind.

I think the designer was just roughing out the NERV logo and perhaps at the time they were thinking of making an acronym, for an additional double meaning. Due to the before-animated-review by TV-Stations, now that Anime producers have to revise scripts a lot. As the result, some anime productions suffer from the too tight schedule which had been carried out without problems before.

In order to prove my story, I think I have to show at least one fact. I sympathy with those staffs. Which part, do you say, has the questionable scenes? Is that so? That is the contract between companies. I ask you a question. It ran in Animerica through , although Okada only touches on Eva in At the time the interview was conducted, Evangelion was in production but had not yet aired, and Okada mentions episode 5 in the context of how Gainax since he left has gained more control over its scheduling.

Hiroyuki Yamaga thought that maybe we should do something else. But Hideaki Anno disagreed. As he put it, we already had the staff, so he felt we should keep going with anime projects. So I then decided we should continue. But that was enough for me, and then I had nothing more to do with computer games either. At that point, Takami Akai told me I should change my job. In the beginning of Gainax, we were all just friends. But Yamaga had another plan. So I said to Yamaga, Okay, this is your plan…I can have nothing to do with it. So he was going to produce it on his own, and Anno was going to direct.

But then the plan crashed, due to problems with money and staff. Finally, after all this, I was talking with my wife, and I asked her what she thought of the whole thing and how she felt. O : …, I think.

An Interview with Eva-Lotta Lamm

And then I heard my friend Yamaga is president of Gainax, Huh? Sawamura and Mr. Three months after I left, many other people left as well: Mahiro Maeda, Mr. Kanda, Mr. In those days, many talented and powerful people left Gainax. It used to be that we worked together, we talked together, we never got enough sleep - it was very hard, but we were like a family. That was Gainax. It was no ordinary company, and no bankers would finance such a company.

But things have changed. In my day, one year we would make so much money, and - ha, ha, ha - next year, very poor. But now, things are under control. At first, Hideaki Anno and Takami Akai were the only two people on its main staff—Anno drew the mecha and the special effects, and Akai drew the characters and most of the motion. Of course, those people on the MACROSS staff, who would later become very important people in the industry, were quite angry with them. But, as Anno and Yamaga explained to Ishiguro and Shoji Kawamori, they had to go back to Osaka so they could make amateur films again.

So we quit, and decided to make the five-minute, 8mm film that became the Daicon IV Opening Animation. But when that was done, it was quite natural that Yamaga and I began to talk about the original plan, with the idea of making that film in a professional way. O : I wrote the base story, then I gave it to Yamaga and told him to write the screenplay.

Then he asked me what I would like. And I told him that I like space best as the setting for everything. Then he went back to Niigata, and about a week later he sent me his screenplay—and when I read it, I was laughing all over the place. That screenplay is stupid! O : Yes, but Anno changed everything!

But to Yamaga, it was a stupid robot-action girl film. This is a real mecha anime! That way! This way! Nothing but a theme: science-fiction-stupid-girl-action-robot-mecha! O : Part Six was the very first idea I had for the film—and it would be at the very end, I told Yamaga. At that point, every fan is sobbing—Yamaga was so ashamed of himself! O : Yes. But that was all ten years ago. O : Yeah.

Sometimes I think just like a Tanaka, and sometimes just like a Kubo. And some episodes were directed in Korea—why, no one knows exactly. Screenplays and storyboards got changed when people went home, and the next morning, if no one could find the original, I authorized them to go ahead with the changes.

No one can be a real director or a real scriptwriter in such a chaos situation. We never met them. No control. But we had never before used a Korean director or animation director. It was real chaos, just like hell. Okada : Japanese movie critics only review live-action movies. It is a very simple film. When I said the screenplay was weak, I was referring to such things. The film needed a stronger structure.

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A little more. I can understand everything! He would still be a human being. That was his only story. The story of the anime is explaining why we are making anime in the first place. It has almost gone away.

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But there is still the real thing, the film we made, that tells our story. And Yamaga says it was he. They never realize that at Daicon Film, or Gainax, there is no director, and no producer, and no animators, and no accountants Everyone did those jobs, in the good old days of Gainax. But WINGS you can see again and again, and notice more details - not just in the artwork, but in the political, the social, the economic - you find more and more layers. One man does all the storyboard, the screenplay, directs the animation - he maintains control over everything.

On a Gainax anime project, everyone has to be a director. O : Yes, but we came up with that after the new anime. What is Honneamise? It would be that world, a hundred years later. A spaceship from the world of WINGS then journeys to our present-day Earth, from their homeworld, four light-years from us. A : Wow! O : Well, no one asked me. On Earth, it would be either the present day, or the near-future.

O : No, not really. I almost forget myself, because we saw the film two or three hundred times, and had so many different ideas about it. So you forget. It was something that I lightly made. I made it that way because I thought the people who watched it were like the people in the live-action portion—not the people who made it.

Questo intervento intende presentare alcuni casi di studio in grado di esemplificare gli approcci locali e transnazionali al paesaggio, sia in ambito documentaristico che finzionale. Fa parte del comitato di redazione di Segnocinema. As the West was forced to confront the rise of the former colonial, or economically colonized, world, a revolution occurred also at the level of language. Altrettanto importante, il documentario ottenne che la visione femminista dello stupro entrasse nella consapevolezza collettiva e nel dibattito nazionale sulla legge di riforma del delitto della violenza sessuale.

Women behaving badly in crime and prison drama Intellect, Tra i suoi lavori : Public engagement e civic agency: percorsi di educazione alla cittadinanza, in Serpieri R. Fabrizio , Representaciones y de construcciones , Dickinson, Madrid, ; con V. Giordano e S. Parisi eds. Esperienza e percezione del limite tra gli adolescenti , Franco Angeli, Milano, ; con L.

Guadarrama Rico, J. Vilchis Valero. Suarez Villegas eds. Modelli, processi, contenuti , Carocci, Roma, I suoi interessi scientifici sono relativi al campo della comunicazione, del transmedia storytelling e dei consumi culturali. Si occupa inoltre di rappresentazioni televisive, con particolare riferimento alla fiction.

Il protagonismo femminile nella fiction italiana , in M. Buonanno a cura di , Il prisma dei generi Angeli ; Sulle onde sonore. Strategie e usi sociali della musica alla radio , in A. De Benedictis e F. I suoi principali interessi scientifici sono relativi al campo della comunicazione, dei social media e dei consumi culturali. Tra le sue principali pubblicazioni, Infiniti Anni Ottanta , Homo Communicans , Potere e comunicazione: Media, politica e istituzioni in tempi di crisi She will address La dolce vita as a musical continuum that fills up the vacuity of precarious existence, thus pointing as an idea to the ways in which sound as created artifact, through its own surplus, has the power to undermine subjectivity, while in the breaks of the continuum, sounds of nature become vehicles for an appeal to intimacy, interiority, and relational being.

She received her PhD from Brown. She is the author of Petrarchs Poetics and Literary History and essays in European medieval and Renaissance literature, European cinema studies, transnational feminist media studies, new media, border art, and eco-cinema. Her areas of interest include Italian cinema, Deleuzian theory, cinema of poetry, intermediality, literary translation, lyric essay and creative writing.

A poet and creative nonfiction writer, as well as a scholar, her lyric essay Marathon Meditation was published in the Los Angeles Review of Books Quarterly Journal , and her untitled short poem recently won the Santa Clarita Sidewalk Poetry Contest. He has published on American, Italian-American, and Italian cinema. Phantasmagoria, the Magic Lantern, the Moving Panorama, and then the cinematographic screens are just some of its most typical expressions.

The digital revolution has intensified and multiplied our exposure to new screens, such as computer monitors, mobile phones, GPS devices, video games consoles, augmented reality, necessarily involving us in new experiences of mobility, tactility, interactivity, connectivity and immersion. This panel aims to explore how the Italian arts have creatively responded to the concept and materiality of screens in various forms of intermediality across cinema, video art, video installations, theatre, architecture and urban spaces across the decades. Our papers will concentrate on three periods: ss, s and the New Millennium.

Screens and theatricality in Italian art, c. This talk will consider this historical proliferation through the lens of art, by looking at various manifestations of — and takes on — the screen in Italian art of the period, focusing on the vetrini of Bruno Munari ss , the schermi and projections of Fabio Mauri ss , and the Environmental Screen of Marinella Pirelli Revisiting, among others, Michael Frieds well-known notion of theatricality or theatre , and Stanley Cavells conception of the screen as a barrier , I will consider how a significant number of artists in these decades sought to engage both cinema and theatre, and to challenge the barrier of the screen.

The engagement of the screen in the works of Munari, Mauri and Pirelli, where screens envelop ordinary objects, or become props or even stages for the viewer, are exemplary of such attempt to articulate cinema theatrically, so to speak, as an intermedial force which may undo, or at least re-draw, the boundaries of art and its disciplines.

Her research explores the interrelations between art and cinema, film and photography, live and recorded media, with a focus on post practices.

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Emanuela Patti Royal Holloway, University of London, UK Beyond computer screens: projecting digital moving images in public spaces In this paper, I will explore creative practices which experimented with the projection of computer-generated images beyond their original setting, namely the computer monitor.

I will particularly emphasise and compare the purpose and reception of these practices in the period ss and today, as well as the role they have had in our perception of space. Her research interests range across a variety of areas, including modern and contemporary Italian culture, digital screen cultures, intermediality. Ha pubblicato il libro L'apocalisse postmoderna tra letteratura e cinema Le Lettere, , curato il volume Imaginary Films in Literature Rodopi, assieme a S.

Ercolino, M. Fusillo e L. Ha pubblicato articoli e saggi su cinema e letteratura, sul digital storytelling e i nuovi media. Collabora con diversi FilmFest e WebFest. Di prossima uscita il volume co-curato con Silvia Antosa, Sex t ualities. Morfologie del corpo tra visioni e narrazioni Mimesis, Chair: Colleen M. In Italy the series is available on TimVision and, similarly to the American context, followed by large audience. Francesca is currently working a new edited collection on women and food in Italian literature, cinema and other forms of visual arts.

Sordi, Comedy Italian Style Springer, Such perceptions of aging may result from the generally limited presence of senesce onscreen. A monograph-length study on the topic of senescence in Italian cinema has yet to be carried out. Scholarship is limited in scope and follows a decidedly gendered division.

Working towards the closure of this lacuna, this paper proposes five avenues for future research on aging in Italian film studies: 1. The synecdocal relation of the national Italian body and onscreen representations of death and decline in old age; 2. Sexuality in the silver years; 4.

Tradition, transition, and generational conflict; and 5. More meaningful images of old age. Lisa works primarily on contemporary Italian cinema and culture, and is particularly interested in the topics of migration, aging, and masculinity. Her refereed journal articles interrogate the fluid sexual and racial identities of migrant protagonists onscreen. Along with preparing a monograph for publication, tentatively titled Screening Sterile Masculinity: On Male Migrants, Italian Men, and the Future of Italy , she is working on a project that investigates representations of aging in Italian cinema.

Critics praise his work for its subtle intertextual ramifications, its original editing, its combination of a distant, burlesque and intimistic tone Curnier At first sight, Tableau avec chutes mainly portrays different sites and types of footage related to immigration showing how migrants can reconnect to their roots. Her main area of research is Italian border literature. Her most recent research interests focus on trauma literature, cultural memory and Jewish-Italian literature Liana Millu, Giuliana Tedeschi, Luciana Nissim, Aldo Zargani and on the new Italian documentary of the Italian diaspora.

Rivista europea di studi italiani. From the late s to the early s, the contribution of Italian filmmakers to the development of South American cinema was monumental. Three countries that specifically benefited from the contribution of Italian filmmakers were Brazil, Argentina, and Colombia. Moreover, little is known about the contribution of Italian artists to Colombia's silent cinema in which Italian filmmakers have had the biggest involvement.

The objective of this presentation is to enrich Italy's filmography by introducing all the Italians artists known to date who significantly influenced the foundation of Colombia's national cinema. Currently, Camilo is conducting research on Colombian silent cinema for his Ph. Ancora oggi, l'attenzione su questa presunta dicotomia rimane non priva di discussioni. We intend migration primarily as the movement of people across national borders, as it is represented in film and media, but also the movement of performers, directors, and scripts across different movie industries.

Moreover, the maternal bodies represented on the screen interacted with off-screen images of the divas circulating on the magazines of the time, often represented within domestic and family environments, which contribute to define the social meaning of the stars as "mediated texts" and to narrate specific iconographies of the maternal. Drawing upon the interdisciplinary theoretical basis of stardom studies and gender studies, this paper seeks to historicize specific discourses on female divismo and transnational motherhood in postwar Italian and Hollywood cinema.

She has written widely on film genres and gender representation is postwar Italian cinema and is the author of Ercole, il divo AIEP, She was also co-editor of Italian Motherhood on Screen Palgrave, with Giovanna Faleschini-Lerner and is currently working on motherhood and media representantions. I argue that these encounters not only illustrate the role played by Italian cinema within current migration discourses in Italy and Europe, but also help us reflect on the posts Southern Italian folk music and dance revival as a promoter of social change through grassroots and locally-engaged efforts.

Indeed, the current Southern Italian folk music and dance revival has encouraged a re-thinking of Southern Italian identity from a postcolonial perspective and as part of a larger, Mediterranean identity. Originally from Benin, Ibi had started recording her life in Italy through photography and videography, which allowed her to share her experience of displacement with her children and her mother in Africa, where--as an undocumented immigrant--she could not hope to return without risking permanent deportation.

Photography was also her business--she worked as a wedding and event photographer and videographer within the African communities of Castel Volturno, as well as for the Cultural Center where the Movement for Migrants and Refugees of Caserta met. When she died in , Segre decided to tell her story through her images, thus producing the first film almost entirely based on visual self-narration by a migrant woman.

This paper analyzes both the film techniques and strategies that Segre adopts to integrate archival materials, photos, and other footage and create an innovative and original filmic narration that moves away from more traditional realist—and often objectifying—narratives of female migration. She is currently at work on a book-length project on the Italian cinema of migration. Access to the Internet and social media has been a necessary condition for this growth. What has that role been? The topic is controversial: should the media give a platform to the ultra-right and, if so, how?

Or should they ignore it, thus taking the chance of reinforcing the accusation of being elitist and aloof? My research addresses this on-going debate by presenting a comparative and historical analysis of media coverage in the United Kingdom and Italy. It implements quantitative measurements of content analysis as well as qualitative methodologies for in-depth investigation.

In she won a prestigious Marie S. Curie Experienced Fellowship to study ultra-right media and communication at the University of Loughborough, with a Secondment at the Scuola Normale Superiore of Florence. Her publications have appeared on numerous international peer-reviewed journals such as The International Journal of Communication , The Journal of Language and Politics , Discourse and Communication , Television and New Media , among others.

This presentation will discuss the role of digital technologies in promoting and marketing the Made in Italy as well as in contrasting the widespread phenomenon of counterfeiting of Italian food known as Italian sounding, which refers to the marketing of food and beverages produced worldwide and labeled with Italian names and misleading words and images. Patrizia La Trecchia received her Ph. Her research includes film, media, globalization, migration, citizenship, the Italian South, digital food culture, ecocinema, sustainable food movement, food security, and food waste. She is a TED speaker on food waste.

Although metoo was born in the United States, women in different places were met with different socio-political responses. Her decision to leave added another layer to the public debate, bringing in the question of migration. Recent allegations of Argento sexually abusing a younger actor further complicate things.

Beginning with Argento and moving to a broader socio-cultural analysis, this paper will look at how the metoo conversation has been deployed in the Italian context, and the uneasy way feminist and nationalist discourses overlap. Her research and publications focus on questions of gender, race, migration, textuality and social activism. She is a co-founder of the Asterisk taskforce for inclusive pedagogy, and a translator of fiction and journalism; recent pieces include works by Italian authors Dacia Maraini and Laila Wadia, as well as English-language articles about gender and politics in the United States.

She is currently translating a text on digital technology and gender, and co-editing a volume on queer Italian media. Risale a questo periodo la fondazione di Camera Woman con altre compagne. Inoltre, con la Kitchenfilm ho aperto dal il filone della distribuzione, ennesima sfida al mercato agonizzante con piccoli gioielli pluripremiati. Allieva di Vattimo e Rondolino, ha approcciato il tema del cinema sperimentale antenato del docu-fiction attraverso le analisi di Bachtin e Genette.

This quality, already pronounced in Corpo celeste , grows exponentially in Le Meraviglie and particularly in Lazzaro felice , where the border between social drama and magical realism becomes blurred, turning the films young protagonists into messianic, redemptive figures, thereby making them symbols of moral resistance. Her research focuses on the relationship between religion and film, Italian cinema, American cinema, films reception and practices of censorship. Since , she has been acting as peer reviewer for the Journal of Religion and Film and Westminster Papers in Communication and Culture.

She has collaborated with the British Film Institute and the Barbican introducing screenings of the work of Italian directors. It seems too convenient. My dialectic is no more ternary but binary. There are only irreconcilable positions. There can be no existence without contradiction, no action without dialectical conflict. There is no synthesis, no self-consciousness, no moving beyond the dialectical opposition because the position is irreconcilable.

His work centers on the relationship between avant garde film and video and mass culture. Davi Pessoa C. Autore di Terza sponda: testimonio, traduzione , Dante: poeta di tutta la vita Attualmente sta traducendo il Petrolio , di Pasolini. Maturati entro una stessa cornice teorica, i due interventi si divaricano nel prediligere rispettivamente gli scenari del tragico e quelli del comico. Her research interests include modern and postmodern Italian literature, critical and theoretical intersections between literature and cinema, and cinematic screenplays as a literary genre.

Her publications include I romanzi in vetrina dal barbiere. She became a maternal figure and his artistic muse. With her constantly at his side, I argue, Federico could continue to dream and pursue figuratively and literally the erotic femme fatales. This appears clearly both in films where he directs her La strada , Le notti di Cabiria , Giulietta degli spriti and Ginger and Fred , as well as in those without her. He started writing down and illustrating his dreams after the encounter with Jungian psychoanalyst Ernst Berhnard. She was Chair of the French and Italian Department from to She has just completed a book entitled Portrait of the Artist and His Mother.

She received several university fellowships, two National Endowment for the Humanities fellowships, and three teaching awards. Contrarily, a popular Indian road melodrama Marutitha Hinglaj, resignifies the moral narrative in La Strada , pitting an eccentric individual against hegemonic faith.

Her interests lie in the fields of cinema, gender, and Postcolonial Studies. Based on research funded by the Fulbright Foundation, she is currently working on two books: a monograph on women authors in the film industries of Pakistan, India, and Bangladesh, and a co-edited scholarly volume on cross-border cinemas in South Asia. Her articles have appeared in such journals as Screen and Diacritics , and other scholarly venues.

Besides paying attention to the evolution of her acting style, he argued that the comparison between Masina and Charlot was facile. Scripted by Fellini, directed by Eduardo De Filippo, scored by Nino Rota and set in Rome, this film was highly praised by Bazin right before he died of leukemia. Starring Alberto Sordi and Paul Douglas Fleischer, Fortunella stands out as a treasure trove of insights about the role of women in society and the importance of imagination in the history of Italian cinema.

The purpose of my paper is to do justice to this little-known and valuable film in historiographical and aesthetic terms. Si occupa di critica cinematografica e letteraria e ha curato programmi radiofonici e televisivi. Flavia Brizio-Skov is Professor of Italian at the University of Tennessee where she teaches modern literature and cinema.

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She has written numerous articles that appeared in Italian, American, French, Spanish and Portuguese journals. She has published the book La scrittura e la memoria: Lalla Romano Selene Edizioni, , the critical monograph Antonio Tabucchi: navigazioni in un universo narrativ Pellegrini Editore, , and has edited a collection of articles entitled Reconstructing Societies in the Aftermath of War: Memory, Identity, and Reconciliation Bordighera Press, This is a series written by Pif, directed by Luca Ribuoli, produced and broadcast by RAI and based on the homonym film, also directed by Pif.

The series is set mainly in Palermo, and various cultural heritage sites are shown, as well as typical cuisine products or popular suburban boroughs as Mondello. Some episodes are also set in various locations of the province as Partinico, Isola delle Femmine, and Ficuzza. In what way does this TV series alter and change the discourse on the representation of crime in the Italian context? Her research interests are popular culture and crime fiction. She is the co-editor with Marco Paoli of a special issue dedicated to the Italian film noir that will be published with Studies in European Cinema in Yet while recent scholarship has seized upon the cultural implications of this phenomenon, the extent to which costuming is integral to these series has yet to be explored.

“Salon Salon: Fine Art Practices from 1972 to 1982 in Profile—A Beijing Perspective”: Liu Ding

Secondly, I look at how costuming is integrated into a larger aesthetic framework, including set design and soundtrack, to become a visual metaphor for organized crime and its relationship to contemporary Italian society. In the film, Thierno is a young tailor who decides to leave his native country and move to Rome to pursue his dream of becoming a fashion designer.

The film offers several reflections on questions that concern integration and assimilation, while addressing a multifaceted discourse on identity through fashion. Garments become a narrative tool and a performative ethical act. Colors, shapes, and patterns acquire a specific meaning and purpose and, by creating a connection between the fabrics that the people in the African village dye, manufacture, and wear with the hardships the protagonist has to face in his daily life, the director discloses the constant negotiations between the two cultures.

She earned a Ph. With this panel we explore the methodological challenges in the study of such performances, considering in particular the ways in which associated discourses of risk and responsibility are mediated by the industry and the press, and how these might be inflected differently by questions of gender, class, regional and ethnic identity. In the films she examines, including Cloro Sanfelice, , Bellas mariposas Mereu, , Indivisibili De Angelis, , the girl becomes the affective conductor for the human relationship with capital, a liquid, deeply uncertain one.

She puts this idea in dialogue with work by Eva Hayward on the ideologies of aquarium display, showing how these underwater portrayals of girlhood inflect performance in contemporary Italian cinema. She has written widely on gender representation in postwar Italian cinema, and has recently published Italys Other Women: Gender and prostitution in postwar Italian cinema, Peter Lang, In particular, her presentation engages with the difficult negotiations and performances of feminine adolescence Driscoll as these performances relate to the productions desire for a representation of an authentic experience of youth.

Both films protagonists have been compared to Enzo Staiola in Ladri di biciclette De Sica, , the iconic face of neorealism. Seeing the child as heir to neorealism and a notional witness to the ongoing migration crisis in Southern Italy is one way of reading these films. However, looking more closely at the figure of the child as non-professional actor, and the mechanics of performance, can open the broader ideological function of the Italian child in these narratives.

The chair and panelists of this session here included will present from the upcoming volume, Screening Sicily , edited by Giovanna Summerfield and published to offset the near-absence of scholarship that focuses on the relationship between the Mediterranean gem and cinema. Elgin K. She holds a Ph.

More recently, her research has geared toward narrative and technical aspects in Italian film and television series. Her research interests are in contemporary Italian literature and cinema, gender studies, motherhood studies, and Sicilian culture. Her publications focus primarily on gender and representations of the mafia in contemporary Italian cinema. She is the author of Donne, mafia e cinema: una prospettiva interdisciplinare Longo Editore, It examines films and television series branding artists directors, actors, writers to gain international scope, while storytelling national political crisis, scandals, and intrigues.

Assessing media products from a variety of approaches, including discourse and reception analyses, panelists investigate the relationship between masculinity and politics in Italian media at a crucial juncture in both national and global histories.

Her research interests focus on Italian cinema, including documentary, film theory and history, gender studies, and feminist and postfeminist theories. Young Salvo, on the other hand, arrives at a finer appreciation of the force of law a ritroso. Publications include essays on serial television in Italy and North America. Her publications include articles on film and theater in the years of lead s , coming-of-age film, and auteur cinema, and two pedagogical volumes.

With Ellen Nerenberg, she is co-author of the collaborative project entitled Winx Nation: educare la futura consumista. Accusations of style over substance persist, although arguably, in Sorrentino, they are two sides of the same coin. On the other hand, Sorrentino seems to be invested in his own brand of political impegno for a postmodern, post-millennial era see Antonello and Mussgnug, , complicating any easy interpretation of his often parodic portrayal of political conflicts, gender issues and masculine identity crises.

As allegorical tales, Sorrentinos films are the depiction of the moral degradation of a society physically and mentally consumed by the pursuit for power. My paper examines how male and female characters in Loro 1 and Loro 2 become obsessed with reaching the personification of their ultimate ideal, Berlusconi as archetype of gold and power. I also argue that obsession with power takes possession of the characters body and mind, turning it into a real mental disorder.

The characters seem willing to do anything to reach their ultimate idol and get to power, even if involves using others, selling ones body and soul, becoming corrupted, traitors and felons. My claim is that Sorrentinos choice of Berlusconi as a paragon of power and gold and as an exemplification of moral corruption is perfectly fitting and telling of contemporary Italian society.

She is currently working on a book-length project on representation of trauma and power in contemporary Italian and American TV series. La grande bellezza , while being no exception, is in itself a reflection on this binary, exploring the endless search for true beauty. The movies openness to diverging aesthetic and social contexts and its search for contrast introduces the viewer to a procession of characters whose superficially beautiful lives hide endless dissatisfaction and social degeneration.

Sorrentino presents elements of aesthetic beauty, before promptly revealing their emptiness. However, while Sorrentino exposes the fallacy of appearance that surrounds materiality, he also seeks to reveal the true meaning of beauty. Mecchia points to the concept of sublime, symbolised by the shots of the sky, as the answer to this quest. While agreeing with the idea of beauty escaping materiality, this paper argues that true beauty emerges from relationships: love, true friendship, the bound between a father and a son. Sorrentino does not preference form over substance, but rather explores the very idea of what it means to have substance, finding true beauty in unconventional places.

Other areas of her research included the juridical language of migration and political discourse. She has presented papers based on nineteenth-century Italian literature and contemporary Italian cinema at various international conferences. Russell J. In what is without doubt the most divisive point in its critical reception, the series critically analyzes the current state of the Catholic Church, examining the nature and value of religious faith in the twenty-first century.

Kilbourn is Associate Professor in English and Film Studies at Wilfrid Laurier University, specializing in film theory, memory studies, and adaptation. Its popular blend of gruesome murders, gore and eroticism inspired numerous Hollywood productions such as Brian De Palma's Dressed to Kill and William Friedkin's Jade , to name just a few. Thus, it comes as a surprise that before no fully-fledged remake of a giallo has been produced outside of Italy. In a more general sense, the paper also raises theoretical questions about the nature of a remake. Her current areas of research include: Spanish and Italian literature of the seventeenth and eighteenth centuries, Jewish literature, intermediality, visual culture and Italian film history.

Albert, U. Becker, R. I suoi interessi di ricerca riguardano i Television e i Media Studies, le forme promozionali e i Visual Studies. Tra le sue pubblicazioni Imagining. This conference paper will investigate the elements of noir in the first Italian original television series produced for Netflix, Suburra: Blood on Rome Suburra — La serie , which premiered worldwide in and which has been marketed not only towards a younger, but also an international audience that. The aesthetic features and thematic issues which significantly distinguish it from more traditional, RAI-produced series will be discussed.

It will be shown that its success has been achieved by producing a noir that consciously breaks away from Italian small-screen traditions, which tend to be provincial and nostalgic self-appreciation reduced to banality and predictability. Noir and nostalgia are at opposite ends of an aesthetic and ideological spectrum, and I will show that Suburra can be firmly placed within the tradition of Neo-noir crime fiction.

Veicolate anzitutto dai Social Media attraverso i nuovi dispositivi digitali, le esperienze tipicamente cinematografiche del racconto di finzione, di proiezione in situazioni immaginarie e di identificazione con personaggi fittizi — che in passato la moda aveva cercato di rendere possibili soprattutto attraverso il medium fotografico — migrano, in definitiva, verso nuovi spazi e nuovi contesti.

I suoi principali interessi di ricerca vertono sul fotografico e, in particolare, sulle interazioni tra arte contemporanea, moda e social media. The success Ferragamo enjoyed and the creativity he displayed were closely tied to his involvement as a shoe designer for Hollywood and, later, to Italian film. Felicia Caponigri is an American lawyer and Ph. Her dissertation research, under the direction of Professor Lorenzo Casini, comparatively examines how modern and contemporary Italian Fashion may be legally classified as cultural property under Italian law and under U.

The paper presents a mapping of the archival sources, public and private, connected to the activities of the cine-theatrical tailors and costume designers, in order to reconstruct a productive and cultural reality of absolute excellence that, starting from the last century, developed in Rome, a real "city of entertainment". The show is slotted in the early afternoon hours for a private network and is hosted by popular presenter Maria De Filippi.

The goal of the show is to help people find a partner, while filming their dates outside the studios. Much of the show time is devoted to watching and commenting clips of such dates, thereby sparking heated in-studio discussions. Through a combination of feminist media theory and cultural studies lenses, the paper will flesh out several threads for analysis, while focusing on how the show is grounded on a pornography and commodification of emotions, the interweaving of ideological gendered discourses and the reproduction of heterosexist norms.

Book contributions and articles on Japanese s exploitation cinema are published for the University of Chester Press, Wiley and the Film Studies Journal. He has been teaching courses on global media, political economy of communication and media and cultural studies in the UK and Qatar.

His research interests include social movements, media and cultural studies, critical political economy, digital media. His research work appeared in Branca and Demichelis eds. Previous studies have argued that in the early s a strategia aziendale was used by RAI to decrease anxieties connected to the emergence of young people as social and political subjects in Italian society Morbidelli, Youth-oriented TV shows featured original approaches — like comedy — to the discussion of the ongoing generational struggle in Italian society.

Moreover, media narratives increasingly facilitated the creation of a distinctively Italian youth culture by endorsing the popularity of young Italian stars. Her research explores the social construction of age as an identity feature and its intersectional dynamics in Italian popular culture. Romanzo Criminale. Scholars have investigated the rise of Italian complex televisual storytelling from various perspectives: domestic and non-domestic televisual storytelling traditions Buonanno, , adoption of American-style production models, changes in viewing practices Scaglioni, Barra, I will focus on the training of the professional screenwriters and on the institutions devoted to the practice-oriented film and television education that in the last decades contributed to form talent for writing and producing television in Italy.