Film Festivals, Ideology and Italian Art Cinema is the first systematic study of the role ideology plays in film festivals’ construction of dominant ideas about art cinema.
Film festivals are considered the driving force of the film industry outside Hollywood, disseminating ideals of cinematic art and humanist politics. However, the question of what drives them remains highly contentious.
In a rare consideration of the European competitive film festival circuit as a whole, this book analyses the shared economic, geopolitical and cultural histories that characterise ‘European A festivals’. It offers, too, the first extensive analysis of such festivals’ role in the canonisation of select Italian films, from Rome, Open City to The Great Beauty and Gomorrah.
The book proposes a new approach to ideology critique, one that enables detailed examination of how film festivals construct ideas about not only contemporary art cinema, but assumptions about gender, race, colonialism and capitalism.
- Cover
- Table of Contents
- Acknowledgements
- Introduction
- Film Festivals and Art Cinema
- The European A Circuit
- Film Festivals and Italian Cinema
- Book Outline
- Bibliography
- Filmography
- 1. Film Festivals and Ideology Critique
- Introduction: From Quality to Ideology
- Film Festival Studies and Ideology Critique
- Theorising Ideology
- The Festival Apparatus
- Paratexts and the Meaning of Film
- The Cinematic Real
- Film Festivals and Ideology Critique: A Method
- Bibliography
- Filmography
- Section I Artistic Universality
- 2. Enjoy Your Auteurism! The Son’s Room at Cannes
- Introduction
- Constructing Universals: “The Art of Film”
- The Son’s Room: A Hysterical Auteurism
- Synopsis Analysis
- Film Analysis
- Conclusion
- Bibliography
- Filmography
- 3. Gendering Art: The Great Beauty at Cannes and Tallinn
- Introduction
- Gendering the Artist, Gendering Art
- The Great Beauty and the Masculine Canon
- Synopsis Analyses
- Film Analysis
- Conclusion
- Bibliography
- Filmography
- Section II Political Universality
- 4. There Is No Sexual Relationship: Facing Window at Karlovy Vary
- Introduction
- European A Festivals’ Others
- Facing Window: A Film Capable of Integrating the Other?
- Synopsis Analysis
- Film Analysis
- Conclusion
- Bibliography
- Filmography
- 5. Brutal Humanism: Fire at Sea at the Berlinale
- Introduction
- European A Festivals’ Geopolitically-inflected Humanism
- Fire at Sea: Representing the “Refugee Crisis”
- Synopsis Analysis
- Film Analysis
- Conclusion
- Bibliography
- Filmography
- Section III Capital
- 6. Capitalism and Orientalism: Gomorrah at Cannes
- Introduction
- European A Festivals’ Construction of Space
- Gomorrah: An Orientalist Realism?
- Synopsis Analysis
- Film analysis
- Conclusion
- Bibliography
- Filmography
- Conclusion: Da capo senza fine
- Universal Art
- Political Universality
- The Real of Capital
- Futures of Cinephilia
- Bibliography
- Filmography
- Appendices
- Appendix 1: A-List Film Festivals
- Appendix 2: Italian Best Picture Winners, 1946–2020
- Appendix 3: Synopses of Secondary Case Studies
- Bibliography
- Film Synopses
- Secondary Sources
- Filmography
- Corpus
- Films and Television Series Referred To
- Index of Films
- Index of Names
- Index of Subjects
- List of Illustrations
- Figure 1: Moretti jogging in the opening scenes of The Son’s Room (Moretti, 2001). Miramax Pictures.
- Figure 2: Moretti/Giovanni steps out of his role as analyst and out of the diegesis. The Son’s Room (Moretti, 2001). Miramax Pictures.
- Figure 3: Jep Gambardella, an image of disfacimento psico-fisico totale? The Great Beauty (Sorrentino, 2013). Curzon Artificial Eye.
- Figure 4: Jep, the artist. The Great Beauty (Sorrentino, 2013). Curzon Artificial Eye.
- Figure 5: Suturing Jep’s perspective on Rome (1): garden through bars. The Great Beauty (Sorrentino, 2013). Curzon Artificial Eye.
- Figure 6: Suturing Jep’s perspective on Rome (2): reverse shot of Jep through bars. The Great Beauty (Sorrentino, 2013). Curzon Artificial Eye.
- Figure 7: Suturing Jep’s perspective on Rome (3): orange trees in garden. The Great Beauty (Sorrentino, 2013). Curzon Artificial Eye.
- Figure 8: Suturing Jep’s perspective on Rome (4): final reverse shot of Jep. The Great Beauty (Sorrentino, 2013). Curzon Artificial Eye.
- Figure 9: Irruption of the Real: a grotesque fountain Gazes on Rome. The Great Beauty (Sorrentino, 2013). Curzon Artificial Eye.
- Figure 10: The Real of Jep’s masculine fantasy (1): impossible POV shot of encounter with Elisa. The Great Beauty (Sorrentino, 2013). Curzon Artificial Eye.
- Figure 11: The Real of Jep’s masculine fantasy (2): uncanny intrusion of the lighthouse. The Great Beauty (Sorrentino, 2013). Curzon Artificial Eye.
- Figure 12: Screening Lorenzo through the finestra di fronte. Facing Window (Özpetek, 2003). Sony Pictures Classics.
- Figure 13: Interface: Giovanna’s ghostly desire. Facing Window (Özpetek, 2003). Sony Pictures Classics.
- Figure 14: The desire for one’s self: Giovanna views herself through the finestra di fronte. Facing Window (Özpetek, 2003). Sony Pictures Classics.
- Figure 15: Davide lost in Rome. Facing Window (Özpetek, 2003). Sony Pictures Classics.
- Figure 16: A Shoah girl haunts contemporary Rome. Facing Window (Özpetek, 2003). Sony Pictures Classics.
- Figure 17: Stasi kidnappings haunt contemporary Rome. Facing Window (Özpetek, 2003). Sony Pictures Classics.
- Figure 18: Confidantes: Giovanna and Eminè smoke outside the abattoir where they work. Facing Window (Özpetek, 2003). Sony Pictures Classics.
- Figure 19: Immunitas: contagion suits in Fire at Sea (Rosi, 2016). Curzon Artificial Eye.
- Figure 20: Baring skin: Dr. Bartolo treats a pregnant refugee. Fire at Sea (Rosi, 2016). Curzon Artificial Eye.
- Figure 21: Dr. Bartolo as audience surrogate and ethical witness. Fire at Sea (Rosi, 2016).Curzon Artificial Eye.
- Figure 22: The refugee Gaze (1): man looks into camera on rescue boat. Fire at Sea (Rosi, 2016). Curzon Artificial Eye.
- Figure 23: The refugee Gaze (2): boat window as screen. Fire at Sea (Rosi, 2016). Curzon Artificial Eye.
- Figure 24: Just a number? The refugee Gaze (3): man looks into official’s, and Rosi’s, camera. Fire at Sea (Rosi, 2016). Curzon Artificial Eye.
- Figure 25: Toxicity and abjection: poisoned Neapolitan man asks for euros in Gomorrah (Garrone, 2008). Optimum Releasing.
- Figure 26: The Real of debt beneath a Neapolitan pastoral. Gomorrah (Garrone, 2008). Optimum Releasing.
- Figure 27: Screening the Venice film festival in Gomorrah (Garrone, 2008). Optimum Releasing.
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