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This article analyses Italian illustrated editions of Little Women published between 1908 and 1945. After an overview of the publishing history of the novel in Italy, the paper will examine Italian illustrations as hermeneutic tools in order to examine their ideological function in the representation of gender. The belated reception of Alcott's novel in Italy, caused by its representation of a nonconformist educational model for girls, is mirrored in the tension between the nationalistic drive and the influence of foreign models that can be pinpointed in the illustrated editions. By analyzing adaptations of American illustrations, original Italian creations, and omissions of iconic illustrations, this paper will unveil how much the visual element is embedded in the Italian historical and cultural context, as the choice (or omission) of particular images impacted the interpretation of the book. By examining the Italian editions of Little Women published in this time frame, we will also be able to retrace the links with the American illustrated history of the book and bear testimony to the powerful impact of the 1934 film version on printed editions. [ABSTRACT FROM AUTHOR]

This paper aims to place the study of authorship in contemporary Italian cinema within the inherent practices of on-demand culture. Specifically, its objective is to question the author-platform relationship. Starting from here, we can demonstrate how the concept of Auteur— in the sense of commerce of auteurism (Corrigan), prestige economy and Made in Italy (Cucco) and strategic planning of cultural legitimization politics — is, for on-demand streaming services, a fundamental framework in pursuing a structural continuity between old and new forms of media production, promotion and consumption. Despite their «ideology of disruption», which preaches a global revolution of audiovisual practices and identifies a new technological service with a world improving view, on-demand streaming services employ, in their foundational practices, productive, cultural and spectatorship strategies that are already used by traditional studios and net-works. Among these practices, one of the most important is the authorship framework, which use is analyzed here through a theoretical frame defined as «double logic of convergence», where every on-demand authorial action is placed within a spectrum generated by two opposite poles, defined as content and event. To unify factual and theoretical perspective, this paper takes into account Italian authorship within MUBI Italia, localized branch since 2021 of the main streaming service involved in auteur cinema. Specifically, this case study concerns Alice Rohrwacher, whose film Quattro Strade (Four Roads) is not only the first Italian film available exclusively and globally on MUBI, but the perfect ex-ample how on-demand Italian authorship— in its commercial branding and artistic prestige — can serve the cultural politics and the glocal growth of platforms, even within that content/event contradiction which stays ontological to streaming consumption. [ABSTRACT FROM AUTHOR]

The aim of this contribution is to assert the role of didactic audiovisual translation as a helpful tool for enhancing metalinguistic skills in a foreign language classroom in Italy; more precisely, the paper will offer an analysis of how foreign language teachers can introduce their students to the idea of sociolinguistic variation, by observing how lexical and morphosyntactic changes can occur in the translation process from an Italian source text into an English target text and/or vice versa. The following sociolinguistic variables will be examined through the lens of audiovisual translation, applied to a range of text types including films and an opera libretto turned into surtitles in English: (1) diamesic variation, making students reflect on such aspects as coarse expressions and taboo words, in relation to the Australian film Ned Kelly; (2) diachronic variation, exploring the multidisciplinary possibilities offered by opera surtitling with a focus on the opera Falstaff by Giuseppe Verdi; (3) diatopic, diastratic and diaphasic variations, commenting upon some examples from the Italian films Mio cognato (My Brother-In-Law) and L'uomo che comprò la luna (The Man Who Bought the Moon). [ABSTRACT FROM AUTHOR]

Verbal periphrases (VP) constitute a typological feature of Romance languages and they are especially frequent in the Iberoromanic languages. In the context of this paper, the aspectual verbal construction stare a + infinito and the modal VP volere + infinito will be "grasped in the concrete speech action" (Katelhön 2013: 237; my translation) in order to show how these two VPs are used as discourse-structuring elements in contemporary Italian (outline signals, turn-taking markers, hesitation phenomena etc.). Furthermore, formal and functional equivalents of the periphrastic discourse markers it. sta(mmi) a sentire and it. voglio dire will be analyzed in two Romance "sister languages", namely French and Spanish, as well as in a typologically more distant language, namely German. The translation strategies chosen in the respective target languages will be examined with regard to the preservation or modification of pragmatic- discursive values inherent in the source language structure. For the present study, which is exclusively qualitative, the LIP corpus and the OPUS corpus (Tiedemann 2012, Italian), which is a collection of subtitles from a wide range of films in various languages, were used. [ABSTRACT FROM AUTHOR]

In this essay I focus on the actress, Liane Mirette, rare representative of the flapper in Italian silent cinema, where she worked exclusively, mostly at the Company of Arturo Ambrosio in Turin, from 1920 to 1925, accredited in five movies, including La girandola di fuoco (l.t. The Pinwheel of Fire, 1920) and Maschietta (l.t. Flapper, 1921). The latter film that I analyze for the minutes brought to light and digitized by National Film Archive of the Centro Sperimentale di Cinematografia in Rome. In the first part of my paper I focus on the birth and development of the New Woman in the US, with particular attention to the flapper of the Roaring Twenties and the Jazz Age of Francis Scott Fitzgerald, a decisive figure for post-Victorian literature and Hollywood silent cinema, but, perhaps, also for the Italian silent cinema. [ABSTRACT FROM AUTHOR]

The essay proposed focuses on the study of the Italian historical and cinema industry context after WWII and during the 1950s. It presents the case study of Luigi Rovere's production and distribution company P.D.C. The paper is divided into two main sections: the first one summarily describes the historical and economic context of Italy and the film industry of the time, with examples of the behaviour of some companies within the industry; the second part focuses on Rovere's firm, giving an idea of how it used to work. The essay will highlight the modes of production and distribution P.D.C. adopted, and also in which way the historical, industrial and economic context and the film market influenced and impacted on the company. [ABSTRACT FROM AUTHOR]

The paper aims to investigate the possibilities for the concept of "political author" as an effect of discourse to survive in contemporary cinema by analysing the case of Italian biopics of the new Millennium. After a proposal of definition of a political authoriality, the analyses of the films attempt to show how the articulation of such an authoriality in three different figures — the director, the actor, and the real model — and in subcategories defines a specific feature of biographical cinema, to eventually conclude with some remarks about the posthumous life of the authorial discourse after the "death of the author", between politics and commitment. [ABSTRACT FROM AUTHOR]

This issue of the 'Archival Notes' column describes two richly intertwined archival collections, one personal and one institutional. Both are held at the Museo Nazionale del Cinema in Turin (MNC, Italy) and house documents pertaining to the activities of MNC's founder and film historian Maria Adriana Prolo (1908–91). The column provides a brief personal profile, details her personal and professional challenges – which led her to compare notes with Henri Langlois of the Cinémathèque française – and sheds light on the plans, accomplishments and never-realized projects of Italy's first (and for decades only) woman film museum director. [ABSTRACT FROM AUTHOR]

This article analyses the connection between Italian and Colombian cinema through the novels and films of Colombian author and filmmaker Fernando Vallejo (1942–present). It examines Vallejo's autofictional novel, Los caminos a Roma (The Roads to Rome) (1988) where he recounts his experience as a student at Rome's Centro Sperimentale di Cinematografia in 1966, criticizes Italian neorealism and auteurism, and articulates his embryonic idea to create a film set during Colombia's civil war. In his critique of Italian cinema, I argue that Vallejo embodies a certain hostility towards European film, its institutions and especially Italian neorealism that was percolating in the Latin America of the 1960s and 1970s. Exploring the historiography of Italy's relationship with Latin American cinema, I remark on an emergent (and problematic) privileging of Italian neorealism as a prototype for New Latin American Cinema (NLAC) and consider how Vallejo's filmmaking was shaped in opposition to Italian archetypes. [ABSTRACT FROM AUTHOR]

This article examines the relationship between Italian cinema, fashion, and the construction of a new national image in the postwar period. It focuses on fashion films from the Settimana INCOM newsreels, analyzing how Italian fashion was portrayed and filmed. The article also explores the transatlantic exchanges that influenced Italy's political, economic, and cultural trajectory after World War II. It highlights the role of fashion and film in Italy's reconstruction and the promotion of a new Italian identity. The article discusses the significance of fashion in the INCOM newsreels and its impact on Italy's moral and economic rehabilitation. It emphasizes the role of fashion as a manufacturing industry and a platform for cultural and political diplomacy between Italy and the United States. The newsreels showcased Italian fashion and its emergence in the country's new consumer society, featuring American ambassadors, actors, and fashion reports. Fashion figures like Micol Fontana and Giovanni Battista Giorgini acted as cultural mediators, promoting Italian style and contributing to Italy's rehabilitation and rebirth. The article also explores the role of the magazine La Settimana INCOM Illustrata in shaping Italian identity and documenting the nation's progress after World War II. It covers topics such as fashion, etiquette, and the relationship between Italy and the US. The article highlights the importance of fashion in postwar Italy and its connection to the concept of "Made in Italy." It emphasizes the role of fashion as a form of soft power and its intersection with cinema and media. [Extracted from the article]

Over the last two decades, Italian cinema has turned its gaze towards the Mediterranean Sea to dismantle the narratives constructed by populist political parties and mainstream European media, which have emphasized the rhetoric of border protection, security and legality through the systematic depersonalization of migrants. Film counter-narratives to this have been effectively developed, and cinema has responded to the materiality and fixity of migrants' bodies by composing stories in which these migrants recover their sociopolitical agency. This article provides a close analysis of the characterization in Emanuele Crialese's Terraferma (2011) and Gianfranco Rosi's Fuocoammare (Fire at Sea) (2016) in relation to technical and stylistic forms of filmic representation. Particular attention is paid to the correlation between the aesthetic level of the films and the social dimension of the characters, which is primarily expressed through framing in which the migrant occupies the central position, establishing a dialectical relationship with the other characters and their social space. [ABSTRACT FROM AUTHOR]

The article examines cinematic portrayals of immigrant integration in Naples, Italy particularly through documentaries. It emphasizes the complexity of the integration process, exploring emotional dimensions and challenges faced by immigrants in a dynamic societal landscape. It highlights the role of select films in capturing diverse narratives, shedding light on the struggles and cultural clashes experienced by migrants.

Film remakes represent a form of cinematic translation that reconstructs various elements of the original text. This article relies on the translation strategies of domestication and foreignization to analyze "Āṣḥāb Wālā Āʿāz", the Arabic remake of the Italian film "Perfetti Sconosciuti" or "Perfect Strangers". This study shows that the Arabic remake, which sparked controversy across the Middle East, replicates many of the syntactic elements of the original film, such as the narrative and the plot structure, as well as cinematographic and paralinguistic elements. Still, it attempts to adopt a transformative approach in order to generate a cultural production. The result shows that the use of domestication in film remakes alters the rhetorical effect of the original version and that, although foreignization may promote an audience's interest in foreign cultures, it may contribute to the reproduction of otherness due to the dissatisfaction of the targeted audiences. [ABSTRACT FROM AUTHOR]

This article discusses the lone outlier associated with the cannibal boom of European exploitation films in the 1970s and 1980s – with the main point of diversion being that Sisworo Gautama Putra's film is an Indonesian production rather than the typical Italian fare. Being an Asian film that emulates the traditionally European style of cannibal film, Primitives opens a larger discussion about the role of the theoretical savage and the implications thereof, put in place by ghosts of imperialism and cinematic mimicry. The author explores these concepts with psychoanalytic input, opting to unpack the rationality behind an Indonesian film following the same imperialist notions utilized by the preceding Italian directors, which ultimately results in a subdivision of the artificial–natural dichotomy: the meta-natural. [ABSTRACT FROM AUTHOR]

"Italian Americans on Screen: Challenging the Past, Re-Theorizing the Future" is a scholarly book that explores the field of Italian American studies. The editors aim to update and challenge existing ideas in the field, moving beyond narrow understandings of Italian Americanness. The book covers a range of topics, including ethnic authenticity, food commodification, and the representation of Italian and Italian American stereotypes in film and television. It also examines the role of Italian newspapers and movie theaters in shaping cultural identity. The editors encourage readers to reconsider and re-theorize the field of Italian American studies. [Extracted from the article]

Michele Placido's Pummarò (1990) and Carmine Amoroso's Cover Boy (2006) bring the legal, economic, and social precarity of West African and East European migrants in Italy to the screen. This article examines, firstly, how subjects who come from the Global South, or who are marked as such, are framed in their precarity from a Eurocentric perspective and, secondly, how they exercise agency and break free of the colonial, racializing, gender-critical, or classist frames imposed on them. The 'illegitimate art' of photography is suited to reflect this two-sided process of precarization and empowerment because it is accessible to diverse social classes. This heterogeneous plurality that produces, mediates, and receives photographs also determines an intersection of gazes that emerge from divergent positionings before and behind the camera. To bridge professional with amateur approaches, my performative analysis combines Philippe Dubois' artistic concept of the 'photographic act' with Ariella Azoulay's critique to reconsider the contingent and civil potentiality of photography by reimagining the 'event of photography'. A media-critical relation between photography and film ultimately reveals this interplay of gazes to be a meta-aesthetic gesture by the observing medium of film, which self-critically interrogates its own cinematographic modes of representing precarious subjects. [ABSTRACT FROM AUTHOR]

Focusing on two teenagers grappling with the difficult reality of Naples, Agostino Ferrente's Selfie (2019) is a powerful depiction of an entire community at a significant time, when limited perspectives and the pervasive presence of organized crime – with a value system that is intrinsic to the Camorra – deeply influence the present and the future of a generation. Shot by two 16-year-old boys from the Traiano district (Naples), the film is a powerful example of how self-representation can be a strategic and political tool to immerse in a life and its context. Within the framework of studies on first-person filmmaking and self-representation, and mobilizing concepts from the theory of mobile films, this article argues that, through the filming carried out by the two teenagers, Selfie is able to offer us a wider glimpse of a generation, of its everyday life and imagination, and of its perception of the contemporary media imaginary. I argue that, by employing a reflexive mode of documentary and the linguistic forms of the photographic selfie, the film engages the spectator in an intimate flow of images, questioning authorial instances, the relationship of the iGeneration with filming devices, and the different approaches and aesthetic choices that form the basis of every representation of reality. [ABSTRACT FROM AUTHOR]

The Battle of Algiers (1966) is often considered one of the most important films in the history of cinema produced during the 1960s as well as a quintessential anticolonial film. This article analyzes the making of Gillo Pontecorvo's film and the cultural and political conditions that made The Battle of Algiers possible. It focuses on the interactions between Italy and Algeria in the 1950s and 1960s, other projects dealing with the Algerian war, and subsequent Algerian-Italian films produced as a consequence of the successful industrial model used for The Battle of Algiers. [ABSTRACT FROM AUTHOR]

The article explores the place of women and migrants in Italian Neorealist and New Migrant cinema, arguing that New Migrant cinema continues and reworks key Neorealist tropes and tendencies. It intends to render explicit how an ensemble of films challenge the stereotypes concerning gender, national and cultural identities. Among the figures that are scrutinized are the borgatari, extracomunitari, popolane and terrone. Its main objective is to demonstrate how the cinematic expression of these figures in Italian Neorealist and New Migrant cinema enhanced the reinvention of italianità and the generalised understanding of gender. It also aims to explain why the cross-fertilisation between migration studies, urban studies and gender studies is indispensable for comprehending this reinvention. Particular emphasis is placed on the shared interest of Roberto Rossellini's Roma città aperta and Vittorio De Sica's Il tetto in the plight over housing and the special character of the urban landscape of Rome. The article also sheds light on certain common concerns of Italian Neorealist and New Migrant cinema, especially as far as national and gender narratives are concerned. Pivotal for the reflections developed here are the roles of Anna Magnani in Roberto Rossellini's Roma città aperta, Luchino Visconti's Bellissima and Pier Paolo Pasolini's Mamma Roma. [ABSTRACT FROM AUTHOR]

The article focuses on the allure of Rome in the late 1940s to the early 1970s, particularly the Via Veneto, which became a hub of glitz and glamour, attracting movie stars and celebrities. It mentions this period marked the emergence of Rome as "Hollywood on the Tiber," driven by economic interests and the convergence of foreign and domestic talent in the city.

The aim of the present article is to describe, both quantitatively and qualitatively, how features of (in)formal language style characterizing the dialogues of English films were handled in dubbing and subtitling translation into Italian. Three English films, together with their dubbing and subtitling translations into Italian, where analysed: Enola Holmes (2020), Little Women (2019) and The Age of Innocence (1993). Availing itself of corpus-bases quantitative and qualitative contrastive analyses of the three sub-corpora (English, dubbing and subtitling), the study revealed that dubbing and subtitling translators' approaches were quite dissimilar. If subtitlers, on the one hand, remained faithful to the source dialogues, thus preserving in the target text the same degree of (in)formality of the source test, dubbing translators showed a tendency towards maximization of formality in the Italian dialogues. The adoption of two different strategies, which points to the translators' minimum intervention in the case of subtitling, and to greater manipulation in the case of dubbing, was hypothesized to be due to the different features characterizing dubbing and subtitling translation. [ABSTRACT FROM AUTHOR]

Ningla A-Na is one of the most important documentaries on the Aboriginal Tent Embassy. Often used as a primary source by historians, little attention has been paid to how the film emerged from a transcultural collaboration between Italian filmmaker Alessandro Cavadini and Indigenous activists. Approaching Ningla A-Na through an analysis of its production and distribution history, this article argues that the film should be understood not only as the record of a crucial time in the history of Indigenous activism, but also as an integral facet of Australia's migration history and as a tool for transcultural activists' engagements in the present. [ABSTRACT FROM AUTHOR]

The article aims at studying the geographical variability of theatrical consumption and popularity of contemporary films imported in Italy since the beginning of the XXI century. It relies on the data about regional admissions and theatrical distribution of more than 4100 titles, namely all the films with more than 15,000 admissions that had been projected in Italy from January 2000 to the pandemic outbreak in mid-February 2020, which forced the closure of all cinemas nationwide. While the regional patterns of distribution of both domestic and foreign films are always rather homogeneous and do not undergo major regional variations, Italian and non-Italian films are consumed in very different ways, geographically. When it comes to foreign cinema, a Regional Popularity Index shows how different regions and primarily wider trans-regional areas have different preferences linked to particular themes and genres. Different films are more or less popular in different areas, even regardless of any disparities in their distribution, precisely because they meet (or fail to meet) the specific tastes of macro-regional audiences. Specifically, the data consistently show a divide in taste between the northern-central audiences and their southern counterparts, which replicates the great distance that still divides the North from the South of Italy, from an economic, social and cultural point of view. [ABSTRACT FROM AUTHOR]

An editorial is presented on understandings of documentary as a kind of filmmaking. Topics include bearing witness to slower but perhaps more pervasive forms of harm such as poverty, marginality, and social exclusion; and many documentaries taking up strategies of re-enactment, essayism, heightening subjectivism, and docufiction.

We study nascent project-based enterprises (PBEs) through the lens of upper echelons and institutional theory. We analyse the interplay between the different role-congruent reputations of their project entrepreneurs and the institutional endorsement of their project idea, theorizing how these affect PBEs' ability to attract private investments. In the context of the Italian film industry, we find that the commercial reputation of the project entrepreneur in the producer role is crucial for attracting investors, while the artistic reputation of the project entrepreneur in the creative director role is crucial for attaining institutional endorsement of the project idea. Finally, we find that the effect of the commercial reputation of the project entrepreneur in the producer role on attracting investments is mediated by the institutional endorsement. We contribute to the literature on PBEs by demonstrating how specific combinations of project entrepreneurs' roles and (role-congruent) reputations can directly and indirectly attract investments. [ABSTRACT FROM AUTHOR]

This article is both a review of the legacy of the Italian brothers Francesco and Vincenzo Di Domenico and a historical analysis of their filmography (1914–26). On the one hand, it analyses Francesco Di Domenico's memoirs, which offer invaluable insights into how these itinerant projectionists from Italy became the bearers of a European film culture in Latin America and the Caribbean. The article also reviews the evolution of Francesco and Vincenzo Di Domenico as filmmakers working in South America and Colombia by identifying and validating important milestones in the history of the country's silent cinema. The aim is not only to reconstruct the journey and filmography of the Di Domenicos, but also – and more importantly – to recognize the significant legacy of these Italian brothers during the era of silent cinema in the Americas. [ABSTRACT FROM AUTHOR]

The movie industry is typically characterized by high production risk and unpredictable returns. Innovating in this kind of environment is very risky and calls for smart strategies of risk diversification. Hollywood is a recognized content innovation leader in the global movie industry, but the recent tendency for major production companies in the industry is to reduce risk by imitating previously successful productions rather than maintaining an innovation drive. We analyse here an alternative possible strategy based on risk diversification, and show how such strategy is viable for the Hollywood system whereas it is less viable for alternative, less market oriented movie production systems. We study cost/return data for 909 films from the US movie market 1988–99 by the five major US studios, and 118 films from the Italian market 1995–2003 by the three major Italian producers. Three different strategies of portfolio composition are tested, in a comparative perspective, in the US and Italy production and market environments. We find that portfolio diversification strategies are always successful in reducing operating risk in the US, but only partially so in Italy due to major differences in market size and players' characteristics, and ultimately to differences in entrepreneurial culture. [ABSTRACT FROM AUTHOR]

Fascinated by the films of Fellini, the cartoonist Milo Manara offered the filmmmaker to adapt two of the scripts that he had never been able to bring to the screen. Thus, in the early 1990s, Journey to Tulum and Journey of G. Mastorna were published. Our main interest has not been in the analysis of the adaptation process. This article aims, on the contrary, to trace the origins of these projects, as well as the interests that, both artists, shared throughout the gestation and realisation of these comics books. We'll find that Fellini was too a comic fan since his childhood and, in fact, draws some comics before WWII. We'll also try to describe how, beyond the plot, Fellini's cinema influenced the cartoonist and how the peculiar and poetic universe of the filmmaker was brought to the panels drawn by Manara. [ABSTRACT FROM AUTHOR]

This research work looks at the cinematic construction and internalisation of national identities by national populace, taking the case of Assamese film Joymoti under study. Films have a distinctive presence within every society and play a significant role in creating new constructs and modifying the existing ones. Researcher cited some instances of cinematic nation construction in Russian, Italian and African film. She further referred some existing literature on Danish films with banal national references. Reflection of socio-political conscious of Assamese society and nation in the Assamese cinemas of early age has also been discussed with this regard. It has been observed that these films advocated the construction of a free nation as an organic outcome of the society that they are associated with, where social equity is a primary facet. The researcher further elaborated Berger and Luckmann's three fundamental processes in the construction of any social phenomena: externalisation, objectivation and internalisation. Here, the construction of national identities in films have been analysed taking the first Assamese Film Joymoti as case study, keeping this three stage process at backdrop. The researcher observed the journey of Joymoti's legend, from a myth primarily popular in the eastern part of the state that got objectivised with written texts in the form of a novel establishing her to be the epitome of national valour. Further with the film by Jyotiprasad Agarwala, the divide of illiteracy has been addressed and Joymoti's myth got internalised by Assamese populace. [ABSTRACT FROM AUTHOR]

This research work looks at the cinematic construction and internalisation of national identities by national populace, taking the case of Assamese film Joymoti under study. Films have a distinctive presence within every society and play a significant role in creating new constructs and modifying the existing ones. Researcher cited some instances of cinematic nation construction in Russian, Italian and African film. She further referred some existing literature on Danish films with banal national references. Reflection of socio-political conscious of Assamese society and nation in the Assamese cinemas of early age has also been discussed with this regard. It has been observed that these films advocated the construction of a free nation as an organic outcome of the society that they are associated with, where social equity is a primary facet. The researcher further elaborated Berger and Luckmann's three fundamental processes in the construction of any social phenomena: externalisation, objectivation and internalisation. Here, the construction of national identities in films have been analysed taking the first Assamese Film Joymoti as case study, keeping this three stage process at backdrop. The researcher observed the journey of Joymoti's legend, from a myth primarily popular in the eastern part of the state that got objectivised with written texts in the form of a novel establishing her to be the epitome of national valour. Further with the film by Jyotiprasad Agarwala, the divide of illiteracy has been addressed and Joymoti's myth got internalised by Assamese populace. [ABSTRACT FROM AUTHOR]

This article provides an original exploration of the self-identified populist coalition leading the Italian government between 2018 and 2019. The analysis, informed by a governmentality approach, starts by scrutinising the economic, social, and cultural issues framed as political "problems" by the coalition, also highlighting the tensions underlying such constructions. The second step charts how this political subject sought to address those problems by deploying an array of political technologies. From examining these two dimensions, the article then can discern the composite rationality—techno-sovereignism—that drove precariously the coalition's art of government. Finally, the article sketches out some forms of contestation against the techno-sovereignist operations, whose significance may stretch beyond the Italian borders. Overall, although the Italian populist coalition turned out to be ephemeral, the dynamics that characterized its emergence and functioning could still be used heuristically to understand the interactions and reciprocal adjustments possibly used by right-wing and technocratic populist groups to exert political power conjointly. [ABSTRACT FROM AUTHOR]

After the marriage is discovered, Luciana gets a job in another factory, and Renzo puts night school on hold to work as a night watchman. The politics of I Renzo and Luciana i , according to Pinkus, are subtler and the humor of Monicelli's other films less foregrounded here, hewing more closely to a naturalistic rendering of the story. The boom comedies provide - at least in retrospect, Pinkus demonstrates - some first glimmers of the transition from mechanical to digital workplace technologies. [Extracted from the article]