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Social critique and viewer’s response in the Italian Gangster film: the case of Bandits in Milan (1968) and Romanzo Criminale (2005)
Studies in European Cinema Pub Date : 2020-07-31 , DOI: 10.1080/17411548.2020.1798103
Marco Paoli 1 , Barbara Pezzotti 2
Affiliation  

ABSTRACT

This article investigates the development of the Italian gangster film and its interconnections with film noir. Specifically, this article will focus on those cinematic manifestations’ attempts to explore post-war Italian culture, society and political context through the portrayal of some of the most important Italian criminal figures of this period. It argues that, while sharing some characteristics such as the femme fatale, flashback structures and a narrative of betrayal, like its American counterpart the Italian gangster film also presents a flexibility that show the mutative qualities of the genre. In order to prove this point, this article analyses two gangster films: Carlo Lizzani’s Bandits in Milan (1968) and Michele Placido’s Romanzo criminale (2005) also through the lens of the viewer’s process of identification. By showing how the protagonists and their victims are represented in these films, and how this intersects with the social critique featured in these films, this article revaluates the Italian gangster film as a creative and artistic output that should be analysed beyond its generic conventions.



中文翻译:

意大利黑帮电影中的社会批评和观众的回应:米兰的土匪案(1968)和罗曼佐·克里米亚(2005)

摘要

本文研究了意大利黑帮电影的发展及其与黑色电影的联系。具体来说,本文将重点介绍这些电影表现形式通过描绘该时期一些最重要的意大利犯罪人物来探索战后意大利文化,社会和政治背景的尝试。它认为,尽管与美国同类电影一样,意大利黑帮电影在共享某些特征(如蛇蝎美人,倒叙结构和背叛叙事)的同时,还具有灵活性,可以表现出该电影类型的变异性。为了证明这一点,本文还通过观看者的身份认同过程分析了两部黑帮电影:卡洛·里扎尼(Carlo Lizzani)的《米兰匪盗》(1968)和米歇尔·普拉西多(Michele Placido)的《罗曼佐·罪犯》(Romanzo Crimee)(2005)。

更新日期:2020-07-31
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