Welcome to ACIS, the Australasian Centre for Italian Studies – a connection-point for the communities of Italianist scholars in Australasia and beyond.
Laura Mecca racconta qui la vita di Maria (poi Marie) Bentivoglio. Italiana, nata a Torino nel 1898, emigrata in Australia ancora in fasce, Maria si laureò a Sydney in chimica e geologia e nel 1921 fu la prima donna australiana a ricevere una borsa di studio all’Università di Oxford dove ottenne un DPhil. Dopo, la sua vita fu dedicata allo studio, all’insegnamento (universitario ma anche corsi di inglese per gli immigrati italiani in New South Wales) e alla ricerca. Teneva corsi di lezioni all’Università di Sydney e in diverse università statunitensi. Nel 1936 si stabilì a New York con il marito appena sposato (di origini nobili da San Remo) dove rimase, lavorando nell’industria chimica, per vent’anni. Tornò prima in Italia e poi, dopo la morte del marito nel 1961, in Australia. Nel 1994, a novantasei anni, in riconoscimento dell’importanza delle sue ricerche le fu conferito un dottorato onorario di ricerca dall’Università di Sydney. Un suo ritratto, opera di Antonio Dattilo-Rubbo, è esposto alla Manly Art Gallery.
Photos move us. They enable us to travel virtually to wherever the scene is captured. They also move us by provoking emotions unleashed by the picture. Travel photography illustrates this double power especially clearly as Giorgia Alù argues in her just-published Journeys Exposed: Women’s Writing, Photography and Mobility (Routledge, 2018). The writers and photographers analysed (Melania Mazzucco, Ornela Vorpsi, Monika Bulaj, Carla Cerati, Elena Gianini Belotti and Anna Maria Riccardi) are variously related to Italy: Italians, Italophones, migrants or expatriates to Italy, or through hyphenated adjectives of nationality, as Italian-American or Italian-Australian. The book begins with an anecdote recounted by Karen Blixen. During a stormy night a man has to go out to fix a leakage in his pond’s dam. He stumbles around, falls over, and takes wrong paths but next morning he sees that the tracks his boots have left in the mud trace the outline of a stork. The stork provides an unsuspected unity for his apparently random movements but one which only becomes visible a posteriori and from a distance. Such traces expose the form of movements, underlying or unintended, in lives, texts and photographs but, like photographs, the form requires the technical processes of exposure to be seen.
The latest volume of The Italianist ( 2018, vol.38, no.2) is devoted to film. The first part opens with discussions of the relations – real, imagined, intended, inadvertent – between films and their audiences: the Fascist promotion of Italian fiction films in the US in the 1930s, and the creation of the once much-scorned but now revalued ‘casalinga di Voghera‘. A series of diverse analyses follows: the impact of the planned, begun but never completed films on the anni di piombo on the difficulties of representing 1970s Italy; the Dantean resonances in Pasolini’s Salò; Sorrentino’s aesthetic strategy in portraying Giulio Andreotti in Il Divo; and the interplay of aesthetics and politics in authorial interventions in recent documentaries. The second part is a celebration in many voices of the lives and works of Peter Bondanella and Chris Wagstaff, two leading scholars who have left large and enduring contributions to the analysis of Italian cinema.
Le presentazioni speciali del 2018 Lavazza Italian Film Festival in Australia saranno: Lazzaro Felice di Alice Rohrwacher; Dogman di Matteo Garrone; Euforia dell’attrice e regista Valeria Golino; e le commedie come Ammore e Malavita dei Manetti Bros. Quest’anno il Festival celebra inoltre l’opera del regista e sceneggiatore Ferzan Özpetek con una retrospettiva che includerà alcuni dei suoi capolavori tra cui Le Fate Ignoranti e Mine vaganti. Il programma completo verrà annunciato in agosto. Continue reading
The International Pragmatics Asssociation conference, Hong Kong Polytechnic University, 9-14 June 2019, will include a panel on Address practices in Italian, convened by Agnese Bresin (University of Melbourne), now calling for paper proposals by 1 October 2018. Addressing each other is a complex operation, in which speakers position themselves and their interlocutors in some form of relationship. With their strong link to situational and cultural contexts and to basic demographic features of the interlocutors, address practices reveal perceived identities and human relations as well as wider social changes. The under-explored Italian case is of particular interest in this field of study for a number of reasons: the status and geographical distribution of “voi” in relation to “tu” and “lei”, the significant diatopic variation expected, and the complex relationship between regional varieties of Italian and the so-called ‘Italian dialects’.
ACIS is offering UP TO THREE scholarships worth $6,000 each to provide postgraduate students at an Australian or New Zealand university with the opportunity to work on a research project in Italy in 2019. For one of the awards, the Dino De Poli Scholarship which honours the President of the Cassamarca Foundation, preference may be given to applications for research on any aspect of the culture, history and society of North East Italy. The scholarships are available to students who are currently enrolled, full-time or part-time, in Master by research or PhD degrees in a university in Australia or New Zealand and who are engaged in research projects in any of the following areas of Italian Studies: archaeology and classical antiquities, language, literature, culture, history, politics and society, including migration studies. Full details of the scholarships, eligibility, and the application process can be found here. The deadline for submission of applications is SUNDAY 14 OCTOBER 2018.
Few recent historians or social scientists have written extended studies of Italians in Australia. Several collections – different authors analysing particular aspects of Italian lifeworlds – have appeared but Gianfranco Cresciani’s The Italians in Australia (CUP, 2003, updating his 1985 original) is the only example of an overall treatment. Now Francesco Ricatti’s Italians in Australia. History, Memory, Identity (Palgrave, 2018) aims to incorporate the demographic, social and cultural evidence gathered over the past twenty years (notably Loretta Baldassar on international caring, Antonia Rubino on language use, Catherine Dewhirst on the press, Simone Battiston and Bruno Mascitelli on politics) and integrate it into an overall portrayal of the Italian communities past and present. Work, family, language, religion, and politics are the organising topics, treated to emphasize – unlike many of the older discussions of such communities – the ways in which immigrants actively shape their own lives within well-known institutional, social and cultural constraints. The outcome is valuable on two levels: as an introduction to the current literature for students and as a survey of issues for future scholarly research.
Gino Moliterno ANU
Son of veteran director, Steno (Stefano Vanzina) and younger brother of Enrico, who produced and regularly co-wrote most of his more than 60 films, Carlo Vanzina (1951-2018) could probably, more than any other Italian director, lay claim to have lived his whole life in films. At the age of only one he had appeared in a cameo as the cute infant in Totò e le donne, one of the many films that Steno had directed for that inimitable “prince of comedy”, Antonio de Curtis. After graduating from the Lycée Chateaubriand in Rome, the young Carlo nurtured hopes of becoming a film critic but was inevitably drawn into a more active role in the cinema, first as an assistant on a handful of his father’s films and then serving a more challenging apprenticeship as assistant director to that other great practitioner of the commedia all’italiana, Mario Monicelli. In a recent interview Vanzina had remembered how Monicelli regularly gave him a hard time on the set, a practice that he had at first resented but had later understood to be the older director’s way of better teaching him all the finer points of the craft of filmmaking. Continue reading
The programme and abstracts for the research workshop Exploring and Translating Stratified Multilingual Landscapes to be held at the La Trobe University City Campus, 360 Collins Street, Melbourne, on 10-11 August 2018 can be found here. The keynote address, Bilingual Subtitling Experiments: Screening Roma, città aperta in Ireland, 1947-1950, will be be given by Carol O’Sullivan (University of Bristol). There will also be a panel of expert editors who will offer Tips on Getting Published (from People who Get People Published).
A selection of papers from a conference in Adelaide in late 2016, An Eye on Italy: Continuities and transformations in Italian visual culture, has just been published in the online journal FULGOR (vol.5, no.3, June 2018). As the editors (Luciana d’Arcangeli, Sally Hill and Claire Kennedy) note, the theme of violence recurs in most of the papers: Claudia Bernardi’s analysis of Fernando Di Leo’s adaptation of Scerbanenco’s I ragazzi del massacro (1968); Luciana d’Arcangeli’s examination of the place of women in Matteo Garrone’s noir films; Brigid Maher’s exploration of the representation in the film and comic-book versions of Massimo Carlotto’s Arrivederci amore, ciao; and Barbara Pezzotti’s comparison of the film and tv versions of Giancarlo De Cataldo’s Romanzo criminale (2002), focusing on the representation of the Bologna station massacre of 1980. The issue, all of which is directly accessible, is completed by Sally Hill’s consideration of the relation between maternity and disability in recent Italian films and by a short interview with De Cataldo.