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Unfinished Business : Screening the Italian Mafia in the New Millennium / Dana Renga.

By: Material type: TextTextPublisher: Toronto : University of Toronto Press, [2013]Copyright date: ©2014Description: 1 online resource (264 p.)Content type:
Media type:
Carrier type:
ISBN:
  • 9781442615588
  • 9781442668317
Subject(s): DDC classification:
  • 791.43/6556 23
LOC classification:
  • PN1995.9.M23 R454 2013eb
Other classification:
  • online - DeGruyter
Online resources:
Contents:
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
Summary: 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.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9781442668317

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 online access with authorization star

http://purl.org/coar/access_right/c_16ec

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.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 01. Dez 2023)