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This book considers cultural representations of four different
types of labor within Italian and U.S. contexts: stories and songs
that chronicle the lives of Italian female rice workers, or
mondine; testimonials and other narratives about female domestic
servants in Italy in the second half of the twentieth century
(including contemporary immigrants from non-western countries);
cinematic representations of unwaged household work among Italian
American women; and photographs of female immigrant cannery labor
in California. These categories of labor suggest the diverse ways
in which migrant women workers take part in the development of what
Antonio Gramsci calls national popular culture, even as they are
excluded from dominant cultural narratives. The project looks at
Italian immigration to the U.S., contemporary immigration to Italy,
and internal migration within Italy, the emphasis being on what
representations of migrant women workers can tell us about cultural
and political change. In addition to the idea of national popular
culture, Gramsci's discussion of the social role of subalterns and
organic intellectuals, the politics of folklore (or 'common sense')
and everyday culture, and the necessity of alliance-formations
among different social groups all inform the textual analyses. An
introduction, which includes a reconsideration of Gramsci's
theories in light of feminist theory, argues that the lives of
subaltern classes (such as migrant women) are inherently connected
to struggles for hegemony. A brief epilogue, on a lesser-known
essay by photographer Tina Modotti, closes the discussion.
This book considers cultural representations of four different
types of labor within Italian and U.S. contexts: stories and songs
that chronicle the lives of Italian female rice workers, or
mondine; testimonials and other narratives about female domestic
servants in Italy in the second half of the twentieth century
(including contemporary immigrants from non-western countries);
cinematic representations of unwaged household work among Italian
American women; and photographs of female immigrant cannery labor
in California. These categories of labor suggest the diverse ways
in which migrant women workers take part in the development of what
Antonio Gramsci calls national popular culture, even as they are
excluded from dominant cultural narratives. The project looks at
Italian immigration to the U.S., contemporary immigration to Italy,
and internal migration within Italy, the emphasis being on what
representations of migrant women workers can tell us about cultural
and political change. In addition to the idea of national popular
culture, Gramsci's discussion of the social role of subalterns and
organic intellectuals, the politics of folklore (or 'common sense')
and everyday culture, and the necessity of alliance-formations
among different social groups all inform the textual analyses. An
introduction, which includes a reconsideration of Gramsci's
theories in light of feminist theory, argues that the lives of
subaltern classes (such as migrant women) are inherently connected
to struggles for hegemony. A brief epilogue, on a lesser-known
essay by photographer Tina Modotti, closes the discussion.
Despite its lack of organisation and relatively short life span,
the Italian neorealist movement deeply influenced directors and
film traditions around the world. This collection examines the
impact of Italian neorealism beyond the period of 1945-52, the
years conventionally connected to the movement, and beyond the
postwar Italian film industry where the movement originated.
Providing a refreshing aesthetic and ideological contrast to
mainstream Hollywood films, neorealist filmmakers demonstrated not
only how an engaging narrative technique could be brought to bear
upon social issues but also how cinema could shape and redefine
national identity. The fourteen essays in Italian Neorealism and
Global Cinema consider films from Italy, India, Brazil, Africa, the
Czech Republic, postwar Germany, Hong Kong, the United States,
France, Belgium, Colombia, and Great Britain. Each essay explores
neorealism's complex relationship to a different national film
tradition, style, or historical period, illustrating the profound
impact of neorealism and the ways it continues to complicate the
relationship between ideas of nation, national cinema, and national
identity. Many of the essays identify similar themes or motifs
adapted from neorealism, and several essays address a politicized
national film tradition that developed in opposition to a
monolithic Western aesthetic. In all, Italian Neorealism and Global
Cinema provides a novel critical understanding of the wide-ranging
international impact of a short period in Italian cultural history.
Film scholars and students of film history will appreciate this
insightful text.
This second volume of New Italian Migrations to the United States
explores the evolution of art and cultural expressions created by
and about Italian immigrants and their descendants since 1945. The
essays range from an Italian-language radio program that broadcast
intimate messages from family members in Italy to the role of
immigrant cookbook writers in crafting a fashionable Italian food
culture. Other works look at how exoticized actresses like Sophia
Loren and Pier Angeli helped shape a glamorous Italian style out of
images of desperate postwar poverty; overlooked forms of brain
drain; the connections between countries old and new in the works
of Michigan self-taught artist Silvio Barile; and folk revival
performer Alessandra Belloni's reinterpretation of tarantella dance
and music for Italian American women. In the afterword, Anthony
Julian Tamburri discusses the nomenclature ascribed to Italian
American creative writers living in Italy and the United States.
Contributors: John Allan Cicala, Simone Cinotto, Teresa Fiore,
Incoronata (Nadia) Inserra, Laura E. Ruberto, Joseph Sciorra, and
Anthony Julian Tamburri.
This second volume of New Italian Migrations to the United States
explores the evolution of art and cultural expressions created by
and about Italian immigrants and their descendants since 1945. The
essays range from an Italian-language radio program that broadcast
intimate messages from family members in Italy to the role of
immigrant cookbook writers in crafting a fashionable Italian food
culture. Other works look at how exoticized actresses like Sophia
Loren and Pier Angeli helped shape a glamorous Italian style out of
images of desperate postwar poverty; overlooked forms of brain
drain; the connections between countries old and new in the works
of Michigan self-taught artist Silvio Barile; and folk revival
performer Alessandra Belloni's reinterpretation of tarantella dance
and music for Italian American women. In the afterword, Anthony
Julian Tamburri discusses the nomenclature ascribed to Italian
American creative writers living in Italy and the United States.
Contributors: John Allan Cicala, Simone Cinotto, Teresa Fiore,
Incoronata (Nadia) Inserra, Laura E. Ruberto, Joseph Sciorra, and
Anthony Julian Tamburri.
Italian immigration from 1945 to the present is an American
phenomenon too little explored in our historical studies. Until
now. In this new collection, Laura E. Ruberto and Joseph Sciorra
edit essays by an elite roster of scholars in Italian American
studies. These interdisciplinary works focus on leading edge topics
that range from politics of the McCarren-Walter Act and its effects
on women to the ways Italian Americans mobilized against
immigration restrictions. Other essays unwrap the inner workings of
multi-ethnic power brokers in a Queens community, portray the
complex transformation of identity in Boston's North End, and trace
the development of Italian American youth culture and how new
arrivals fit into it. Finally, Donna Gabaccia pens an afterword on
the importance of this seventy-year period in U.S. migration
history. Contributors: Ottorino Cappelli, Donna Gabaccia, Stefano
Luconi, Maddalena Marinari, James S. Pasto, Rodrigo Praino, Laura
E. Ruberto, Joseph Sciorra, Donald Tricarico, and Elizabeth Zanoni.
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