TY  - BOOK
AU  - Renga,Dana
TI  - Unfinished Business: Screening the Italian Mafia in the New Millennium 
SN  - 9781442615588
AV  - PN1995.9.M23 R454 2013eb
U1  - 791.43/6556 23
PY  - 2013///]
CY  - Toronto : 
PB  - University of Toronto Press, 
KW  - Gangster films
KW  - Italy
KW  - History and criticism
KW  - Mafia in motion pictures
KW  - Motion pictures and women
KW  - Psychic trauma in motion pictures
KW  - PERFORMING ARTS / Film & Video / History & Criticism
KW  - bisacsh
N1  - Frontmatter --; Contents --; Acknowledgments --; Introduction: Trauma, Gender, and Recent Italian Mafia Cinema --; 1. Oedipal Confl icts in Marco Tullio Giordana’s I cento passi --; 2. Honour, Shame, and Vendetta: Pasquale Scimeca’s Placido Rizzotto --; 3. Mafi a Woman in a Man’s World: Roberta Torre’s Angela --; 4. The Mafi a Noir: Paolo Sorrentino’s Le conseguenze dell’amore --; 5. Men of Honour, Man of Glass: Stefano Incerti’s L’uomo di vetro --; 6. The Female Mob Boss: Edoardo Winspeare’s Galantuomini --; 7. Melancholia and the Mob Weepie: Davide Barletti and Lorenzo Conte’s Fine pena mai: Paradiso perduto --; 8. Mourning Disavowed: Matteo Garrone’s Gomorra --; 9. Recasting Rita Atria in Marco Amenta’s La siciliana ribelle --; 10 Trauma Postponed: Claudio Cupellini’s Una vita tranquilla --; Epilogue: Why Must Caesar Die? --; Notes --; Works Cited --; Index; restricted access
N2  - Unfinished Business is the first book to examine Italian mafia cinema of the past decade. It provides insightful analyses of popular films that sensationalize violence, scapegoat women, or repress the homosexuality of male protagonists. Dana Renga examines these works through the lens of gender and trauma theory to show how the films engage with the process of mourning and healing mafia-related trauma in Italy.Unfinished Business argues that trauma that has yet to be worked through on the national level is displaced onto the characters in the films under consideration. In a mafia context, female characters are sacrificed and non-normative sexual identities are suppressed in order to solidify traditional modes of viewer identification and to assure narrative closure, all so that the image of the nation is left unblemished
UR  - https://doi.org/10.3138/9781442668317
UR  - https://www.degruyter.com/isbn/9781442668317
UR  - https://www.degruyter.com/document/cover/isbn/9781442668317/original
ER  -