Staging (E)motions: the importance of Elvira Notari's 'city films' for twentieth-century immigrant and female audiences
This article explores the significant social changes registered by woman film director Elvira Notari in her films, particularly regarding the position of women and Italian immigrant audiences in the US. It thus suggests new readings of Notari's work through the concepts of urban capabilities an...
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| Tipo de recurso: | artículo |
| Fecha de publicación: | 2022 |
| País: | España |
| Institución: | Universidad de Cantabria (UC) |
| Repositorio: | UCrea Repositorio Abierto de la Universidad de Cantabria |
| Idioma: | inglés |
| OAI Identifier: | oai:repositorio.unican.es:10902/36861 |
| Acceso en línea: | https://hdl.handle.net/10902/36861 |
| Access Level: | acceso abierto |
| Palabra clave: | Elvira Notari City films (E)motions Cultural immigration Gender representation |
| Sumario: | This article explores the significant social changes registered by woman film director Elvira Notari in her films, particularly regarding the position of women and Italian immigrant audiences in the US. It thus suggests new readings of Notari's work through the concepts of urban capabilities and the "flâneuse". As most of her original dense archive has been almost lost, only the extant feature film "È Piccerella"as well as secondary material and scholarship retrieving her work will be used to analyze the contributions of the director to cultural immigration, gender representation and film history. |
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