Emphasizing the importance of cultural theory for film history,
Giuliana Bruno enriches our understanding of early Italian film as
she guides us on a series of "inferential walks" through Italian
culture in the first decades of this century. This innovative
approach---the interweaving of examples of cinema with
architecture, art history, medical discourse, photography, and
literature--addresses the challenge posed by feminism to film study
while calling attention to marginalized artists. An object of this
critical remapping is Elvira Notari (1875-1946), Italy's first and
most prolific woman filmmaker, whose documentary-style work on
street life in Naples, a forerunner of neorealism, was popularly
acclaimed in Italy and the United States until its suppression
during the Fascist regime. Since only fragments of Notari's films
exist today, Bruno illuminates the filmmaker's contributions to
early Italian cinematography by evoking the cultural terrain in
which she operated. What emerges is an intertextual montage of
urban film culture highlighting a woman's view on love, violence,
poverty, desire, and death. This panorama ranges from the city's
exteriors to the body's interiors. Reclaiming an alternative
history of women's filmmaking and reception, Bruno draws a cultural
history that persuasively argues for a spatial, corporal
interpretation of film language.
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