Italian Cinema Audiences

Daniela Treveri Gennari is Reader in Film Studies at Oxford Brookes University, UK, with a research interest in audiences, popular cinema, film exhibition and programming. Amongst her recent publications: the edited volume Rural Cinema Exhibition and Audiences in a Global Context (forthcoming 2018, with Catherine O’Rawe and Danielle Hipkins) Catherine O’Rawe is Reader in Modern Italian Culture at the University of Bristol, UK. She is the author of Stars and Masculinities in Contemporary Italian Cinema (2014), co-author (with Jacqueline Reich) of Divi: la mascolinità nel cinema italiano (2015), and has published widely on gender and stardom in Italian post-war and contemporary cinema. Danielle Hipkins is Associate Professor of Italian Studies and Film at the University of Exeter, UK. She has published widely on gender representation in postwar Italian cinema, and has recently written Italy’s Other Women: Gender and prostitution in postwar Italian cinema, 1940-1965 (2016) and co-edited Prostitution and Sex Work in Global Cinema: New takes on fallen women (2017). Silvia Dibeltulo is Senior Lecturer in Communication, Media and Culture at Oxford Brookes University, UK, where she previously worked on the AHRC-funded Italian Cinema Audiences project and the BA/Leverhulme-funded European Cinema Audiences project. Her publications the edited volume Rethinking Genre in Contemporary Global Cinema (forthcoming 2018, with Ciara Barrett). Sarah Culhane is currently a Research Fellow at Oxford Brookes University, UK, working on the Italian Cinema Audiences follow on project, ICAMAP (2017-2018). ICAMAP is an online archive that allows users to explore the history of cinema-going in 1950s Italy. Her publications include ‘Street Cries and Street Fights: Anna Magnani, Sophia Loren and the popolana’ (The Italianist, 2017).

List of Figures
List of Tables
Acknowledgements

Foreword by Professor Martin Barker

Introduction

Part I. THE ACTIVITY OF CINEMA-GOING
1. Cinemas, exhibition practices and topographical memories
2. Only entertainment?: memories inside and outside the cinema

Part II. FILMS: GENRE, TASTE, AND POPULAR MEMORY
3. Audiences and film genre

4. 'Back then I believed in the nation - I don't anymore': re-visiting national film canon through audience memories

Part III. GENDER AND CINEMA-GOING
5. A girls’ eye view of post-war Italian cinema
6. Beyond ‘belle e brave’: female stars and audiences
7. Narrative imaginings of masculinity through cinema

Conclusions

Appendix 1: Questionnaire
Appendix 2: Video-Interview
Appendix 3: List of Thematic Areas
Bibliography
Index