bluuebunny/crossref_metadata_2025_split huggingface dataset:
Transformations of fascist imperialism: Greece from Le soldatesse (1965) to Mediterraneo (1991)
Authors: Cragin Thomas 
Published: April 2014

Abstract
The article demonstrates the power of sociopolitical and cultural contexts that dictated the interpretations of fascist imperialism in the two most important films dealing with the wartime occupation of Greece. Analysis of both films is positioned in relation to the history of the wartime occupation, when Italian soldiers were moved by racist assumptions, rejected Greek culture and willingly perpetrated crimes against the Greek people. From war’s end to the early 1960s, official memory of brutal fascist imperialism had been obscured by a powerful myth that the Italian people had been good anti-fascists and sympathetic victims during World War II. But events of the early 1960s created a political crisis that demanded re-evaluation of the power and dangers posed by Italian fascism. The article explores the means by which Valerio Zurlini’s 1965 Le soldatesse/The Camp Followers attempted to awaken national memory of imperial exploitation and inspire in audiences both a powerful collective guilt and consciousness of the urgent necessity to combat neo-fascism. The article also exposes the influence of the sexual revolution on this film’s depiction of consensual heterosexual sex as the primary mechanism for peaceful Italo–Greek relations. It was this sensual approach to empire and not the anti-neo-fascist political mission that tied The Camp Followers to Gabriele Salvatores’ 1991 Mediterraneo. Inspired by the new political apathy and consumer culture of the 1980s and early 1990s, Mediterraneo created an imaginary fascist empire devoid of racism and the ideological commitments that divided Italian from Greek. The new film created the possibility of an Italian imperialism defined by leisure, an alteration of history that could only seem reasonable in a world redefined by sensual consumerism. The stark differences between these two films’ depictions of Italians in the fascist empire reflects a larger transformation of Italian national identity.
Migrant stardom and racial masquerade: Fabrizio Gatti’s multimedia undercover journalism
Authors: Purpura Marco 
Published: April 2014

Abstract
In this article I discuss journalist Fabrizio Gatti’s undercover reporting across a variety of multimedia narratives about undocumented immigration, including news articles, illustrated reportages, literary travelogues and digital documentaries. Over the arc of his career Gatti has moved from an aesthetic of camouflage to one of the sceneggiata, which has allowed him to create a migrant stardom revolving around his racialized aliases, the Bilal character in particular. Camouflage is a strategy of racial passing that emerged in Gatti’s early articles for the Corriere della Sera/The Evening Paper. In these articles the subject goes unnoticed and dissolves into the environment that the journalist intends to explore. When Gatti moved to the weekly l’Espresso/The Express in the mid-2000s, his earlier strategies were replaced by exaggerated stagings of his impersonations, that is, by strategies of racial posing. Among his reportages for l’Espresso, the journalist’s undercover work as the Kurdish Bilal in Lampedusa has become so popular that it has marked the birth of a migrant star, Gatti as Bilal, who parodies celebrity culture while criticizing the process of identity building in Italian media. With his travelogue Bilal, his strategies reached such levels of theatricality that the use of sceneggiata, which Gatti himself employs in the travelogue, to examine it becomes invaluable. In the last part of the article, I analyse Gatti’s documentary Sulla via di Agadez/On the Route to Agadez (2009), available through l’Espresso website, and discuss the way it combines the sceneggiata with the sobriety of documentary journalism.
Narratives of change, images for change: Contemporary social documentaries in Italy
Authors: Ardizzoni Michela 
Published: April 2014

Abstract
This article focuses on contemporary documentaries about social change in Italy. In particular, I examine the Rome-based ZaLab initiative, an association of media professionals and activists whose video work aims at narrating the stories of marginal social actors. This analysis reflects on the role of ZaLab in current visions of migration in/to Italy, focusing specifically on three documentaries produced by ZaLab: Come un uomo sulla terra/Like a Man on Earth (Segre and Yimer, 2008), Il sangue verde/Green Blood (Segre, 2010) and Mare chiuso/Closed Sea (Liberti and Segre, 2012). Based on a careful film analysis and a series of conversations with the directors, Andrea Segre and Stefano Liberti, I discuss the composition and film-making strategies in these documentaries and assess the significance of such choices in the context of Italian documentary production. The analysis of the documentaries is followed by an investigation of the horizontal practices of communication (both in the production and distribution stages) embraced by ZaLab and their innovative approach to the changes in Italian contemporary communities. Clearly, the notion of citizenship presented in these videos defies the flattening, pejorative images found in mainstream programming and acknowledges the central role played by those social actors who are often silenced or marginalized in the audience-seeking productions of television channels.
Book Reviews
Authors: Benci Jacopo , Peretti Luca , Heim Julia , Ferrari Chiara , O’Rawe Catherine , Orton Marie , Welle John P. , Laviosa Flavia , Hennessey Brendan 
Published: April 2014

Abstract
Michelangelo Red Antonioni Blue. Eight Reflections on Cinema, Murray Pomerance (2011) Berkeley: University of California Press, 300 pp., ISBN: 9780520258709, h/bk, $65, ISBN: 9780520266865, p/bk, $29.95
Pavese e il cinema. Primo e ultimo amore, Franco Prono (2011) Acireale: Bonanno, 117 pp., ISBN: 978-8-87796-844-9, p/bk, €10
Italian TV Drama & Beyond, Milly Buonanno (2012) Bristol, UK: Intellect, 264 pp., ISBN: 978-1-84150-459-9, p/bk, $30
Terrorism, Italian Style. Representations of Political Violence in Contemporary Italian Cinema, Glynn Ruth, Giancarlo Lombardi and Alan O’Leary (2012) London : IGRS books, ISBN: 978-0-85457-228-1, p/bk, £25
Italian Neorealist Cinema, Torunn Haaland (2012) Edinburgh: Edinburgh University Press, xii–235 pp., ISBN: 0748636110, h/bk, $105/£65
Equivocal Subjects: Between Italy and Africa: Constructions of Racial and National Identity in the Italian Cinema, Shelleen Greene (2012) London: Continuum International Publishing Group, 328 pp., ISBN: 978-1-4411-9043-7, h/bk, $120
The Great Black Spider on its Knock-Kneed Tripod: Reflections of Cinema in Early Twentieth-Century Italy, Michael Syrimis (2012) Toronto: Toronto University Press, Xiv–357 pp., ISBN: 978-1-4426-4401-4, h/bk, $85
Ciak, si Puglia. Cinema di frontiera 1989–2012, Oscar Iarussi (2012) Bari: Laterza Edizioni della Libreria, v–xx, 3–92 pp., ISBN 978-8-84204-986-9, p/bk, €9
Incontri cinematografici e culturali tra due mondi, Antonio Vitti (ed.) (2012) Pesaro: Metauro Edizioni, 670 pp., ISBN 978-88-6156-091-8, p/bk €25
Event Reviews
Authors: Casella Paola , Bianchi Tina , Gavrila Mihaela , Walker Johnny , Nerenberg Ellen , Zamboni Camilla 
Published: April 2014

Abstract
Sisters in Cinema: Generations of Italian female filmmakers in dialogue Report of the roundtable, Cinema Farnese Persol, Campo de’ Fiori, Rome, 12 June 2013
CRC Coproduction Meetings, Salon des Ambassadeurs, Palais des Festivals, Cannes – 29th Edition, 21 May 2013
Osservatorio GEMMA – Gender and Media Matter and Magistri Sine Registro Program on Cultural, Gender and Media Processes
Spaghetti Cinema: Incorporating Spaghetti Westerns in Transit: AN International Film Conference on Transculturation and Liminality, Luton Library Theatre, University of Bedfordshire, 11–13 April 2013
Cineroma: an International Summer Seminar on the Cinema and the City, Rome, 11–28 June 2012
Il braccio violento della legge: Revelation, conspiracy and the politics of violence in the poliziottesco
Authors: Fisher Austin 
Published: April 2014

Abstract
This article analyses a strand of the Italian police thriller (poliziottesco) whose plots invest heavily in notions of official cover-up and high-level coup d’état conspiracy, in the cultural, political and historical coordinates of the ‘anni di piombo’/‘years of lead’. Prevailing scholarly discourses on the cinema of and about this era tend to identify a desire to seek explanation for the violent traumas and to see through the opaque webs of intrigue that characterize the national memory of the 1970s. By taking La polizia ringrazia/Execution Squad (Steno, 1972), Milano trema – la polizia vuole giustizia/Violent Professionals (Martino, 1973) and La polizia accusa: il servizio segreto uccide/Silent Action (Martino, 1975) as key examples, this article seeks to demonstrate that such films in fact occupy a divergent register of political address: one that seeks, not to explain or ‘make sense’ of the era’s intrigues, but instead to enact a ritual recognition of innate suspicion, pervasive corruption and assumed distrust. These films are appraised for their immediacy rather than their coherence, as documents of confusion rather than of investigative rigour. They thus enable a reading of ‘political cinema’ as being one that chronicles the range of political registers through which events were being represented to sections of the Italian public.
Television narratives of the Italian migrant worker: Disaster stories of sacrifice and redemption
Authors: Jansen Monica , Lanslots Inge 
Published: April 2014

Abstract
In the 2000s RAI television drama makes a temporal turn that coincides with Second Republic’s revisionism of the divided memory of crucial episodes in post-Unification Italian history. This article examines two historical mini-series on Italian migration in the late 1940s and early 1950s, Il Grande Torino/The Great Torino (2005) and Marcinelle/Inferno Below (2003). In both narratives the microhistory of migration lived and performed by ordinary people is coupled with the macrohistory of disaster: respectively the 1949 Superga airplane crash, which brought an end to the Grande Torino football team, and the Marcinelle coalmine fire of 8 August 1956, which killed 136 Italian workers. These historical narratives work within transmedial constellations of cultural memory and interact with institutionalized collective memory. In both cases the model image of the Italian migrant worker as a redemptive figure of Italy’s post-war regeneration in television documentaries of the 1950s and 1960s is replaced by a contemporary ambivalent representation of the paradoxes of migration, and redemption is activated instead by the story of disaster and as a specific quality of Italian character. Both episodes can be seen as a homage to the sacrifice of labour of the Italian worker with the difference that the main character of Il Grande Torino/The Great Torino sacrifices his individual migrant story to the memory of the Superga disaster, while Marcinelle’s hero becomes the redemptive figure of the Italian migrant worker thanks to the exceptional circumstances created by the mine catastrophe.
‘A magical balance of opposites’: Reading Luigi Ghirri’s photography through Walter Benjamin
Authors: Spunta Marina 
Published: April 2014

Abstract
In this article I contend that Ghirri’s photography can fruitfully be read through Benjamin’ thought, in particular through his key notions of experience, montage, aura, beauty, mystery and dialectical image, and at the same time I seek to redress a common misreading of Benjamin’s work in some art theory. This approach allows me to illuminate from a new angle Ghirri’s aesthetics and the change it underwent between the late 1970s and the early 1980s, and to demonstrate that his work effectively draws on Benjaminian dialectics to achieve a ‘magical balance of opposites’. Through a close analysis of selected Ghirri’s photographs from two of his main series from the 1970 – Kodachrome (1970–1978) and Still life (1975–1979) – and from two series from the 1980s – Il profilo delle nuvole/The Outline of Clouds (1980–1989) and Atelier Morandi (1989–1990) – I show that Ghirri’s photography moves from an early effort to deconstruct the assemblage of images that compose reality to an attempt to re-create an aura of places that are felt to be on the brink of disappearing. In so doing he both expressed a postmodern sense of loss of experience and history and challenged this by presenting photography as a means of achieving knowledge and experience of the world, before the onset of the digital age.
I wanna be Watson! Towards an eco-phenomenology of Carmelo Bene’s cinema
Authors: Gatti Giuseppe 
Published: April 2014

Abstract
Carmelo Bene’s films (1968–1973) were traumatic event in the history of Italian cinema. As a ‘visual philosopher’ he developed a counter-hegemonic discourse on the Self, being ‘within and against’ a complex transmedia environment that mixes practice with theory, writing with showing, performing with directing. In this article I will analyse Bene’s visual work through a methodology inspired by Consciousness Studies. I argue that Bene’s transmedia approach of giving up the unity and the wholeness of Self may be framed into a whole philosophical philum that relates to phenomenology, post-structuralism, cognitive science and Image Theory. In the first section I will illustrate the theory of consciousness of the American philosopher Daniel C. Dennett, going back to those thinkers with whom I have found similarities (Nietzsche, Sartre, Deleuze, Žižek), and integrating the discussion with Bene’s visual–theoretical suggestions taken from his television programmes and performances. In the second part I will analyse four Bene’s films Nostra signora dei turchi/Our Lady of the Turks (1968), Capricci/Caprices (1969), Don Giovanni/Don Juan (1970) and Salomé (1972) through the theories so far discussed, in order to blur the distinction between authorship and spectatorship, in favour of a distributed experience and hermeneutics of Self through mind, body and (imaginary-situated) environment.
The hybrid star: Steve Reeves, Hercules and the politics of transnational whiteness
Authors: D’Amelio Maria Elena 
Published: April 2014

Abstract
My article focuses on a particular cycle of the adventure films produced in Italy between 1957 and 1965 that has come to be known as the peplum. These Italian peplum films centred on heroes drawn from classical antiquity played by American bodybuilders, in particular Steve Reeves, who won the titles of Mr America and Mr Universe in the late 1940s. The purpose of the article is to investigate the use of Steve Reeves’ star persona in the peplum genre, focusing on the significance of his white muscularity as a cultural intertext between America and Italy during the Hollywood on the Tiber era.
Imagining Naples: Reconfiguration of a city in the movies by Terry Gilliam, John Turturro and Jonathan Demme
Authors: Gaudiosi Massimiliano 
Published: April 2014

Abstract
This article investigates the image of Naples depicted by three American film-makers: Terry Gilliam with The Wholly Family (2011), John Turturro with Passione (2010) and Jonathan Demme with Enzo Avitabile Music Life (2012). In these movies Naples is perceived through a translocal perspective, an intersection of different cultures and places, where the role of memory is strongly emphasized. The common denominator of these different productions is the topic of the roots, highlighted with a cinematic sightseeing of the city. Turturro, Demme and Gilliam move the camera in tourist places, but behind the typical postcard view they give rise to a reconfiguration of the city’s soul. The article focuses on the way in which these films reject the stereotyped image of Naples built by Hollywood, providing an opportunity to rethink the complex notion of porosity proposed by Walter Benjamin.
Reviews
Authors: Marlow-Mann Alex , Zamboni Camilla , Zambenedetti Alberto , Fabbri Lorenzo , Santello Marco , Koven Mikel J. , Purpura Marco , Gargiulo Gius 
Published: April 2014

Abstract
I ‘pori’ di Napoli. IL Cinema di Mario Martone, Antonio Capuano e Pappi Corsicato, Roberta Tabanelli (2011) Ravenna: Longo Editore, 190 pp., ISBN: 9788880636632, p/bk, €18 (£15)
Viaggio al termine dell’Italia. Fellini politico, Andrea Minuz (2012) Rome: Rubbettino Editore, 242 pp., ISBN: 9788849832778, p/bk, €13.60
Postcolonial Italy: Challenging National Homogeneity, Cristina Lombardi-Diop and Caterina Romeo (eds) (2012) New York: Palgrave MacMillan, 336 pp., ISBN: 9781137281456, h/bk, £54.79
Roberto Rossellini documentarista. Una cultura della realtà, Luca Caminati (2012) Roma: CSC/Carocci editore, 148 pp., ISBN: 9788843066124, p/bk, €17
L’Italia e i mass media, Marco Gargiulo (ed.) (2012) Rome: Aracne, 460 pp., ISBN: 9788854853454, p/bk, €25.00
Radical Frontiers in the Spaghetti Western: Politics, Violence and Popular Italian Cinema, Austin Fisher (2013) London: I. B. Tauris, 304 pp., ISBN: 9781780767116, p/bk, £17.99
Splendor. Storia (inconsueta) del cinema italiano, Steve Della Casa (2013) Rome: Editori Laterza, 140 pp., ISBN: 9788858108352, p/bk, €14
Unosguardo a Sud. Vent’anni di movimenti, storie, conflitti e trasformazioninellacittà di Napoli 1990–2010, Patrizia La Trecchia (2013) Naples: LiguoriEditore, 297 pp., ISBN-13: 9788820750985, €25.99
State, Violence, and Security in Mexico
Authors: Solar Carlos 
Published: April 2014

Paul Kenny, Mónica Serrano with Arturo Sotomayor, eds., Mexico's Security Failure, Collapse into Criminal Violence (New York: Routledge, 2012).
Wil G. Pansters, ed., Violence, Coercion, and State-Making in Twentieth-Century Mexico (Stanford: Stanford University Press, 2012).
George Philip and Susana Berruecos, eds., Mexico's Struggle for Public Security: Organized Crime and State Responses (New York: Palgrave Macmillan, 2012).
Peter Watt and Roberto Zepeda, Drug War Mexico: Politics, Neoliberalism and Violence in the New Narcoeconomy (London and New York: Zed, 2012).
A pancreas intraductalis papillaris mucinosus neoplasmájának sebészi vonatkozásai
Authors: Oláh Attila 
Published: April 2014

Absztrakt
Az intraductalis papillaris mucinosus neoplasmák (IPMN) több szempontból is kiemelt szerepet játszanak a pancreas exocrin tumorai között. Noha arányuk nem több, mint 1%, az utóbbi időben reflektorfénybe került cystosus tumorok mintegy 20–30%-a ebbe a szövettani csoportba tartozik. A fővezetékből, illetve a mellékvezetékből kiinduló IPMN malignitási rátája, prognózisa, ebből következően műtéti indikációja is jelentősen eltérő. Bár az IPMN talaján kialakult ductalis carcinoma prognózisa nem különbözik a klasszikus ductalis adenocarcinoma igen alacsony, mintegy 10%-os 5 éves túlélésétől, összességében az IPMN prognózisa lényegesen kedvezőbbnek mondható, hiszen noninvazív tumor esetében ez meghaladja a 70%-ot. Ez a tény támasztja alá leginkább annak a jelentőségét, hogy az IPMN kimutatása és sebészi eltávolítása még az invazív carcinoma kialakulását megelőzően szükséges.
Mechanicus ileust okozó, eltérő hisztológiai szerkezetű, metastatizáló, duplex colontumor operált esete egy fiatal, 34 éves nőbetegben
Authors: Bartók Ádám , Banai Zoltán , Berczi Lajos 
Published: April 2014

Absztrakt
Egy fiatal (34 éves) nőbeteg esetét szeretnénk bemutatni, akit hospitalizációja előtt egy héttel fokozatosan tűrhetetlenné váló, görcsös hasi fájdalom miatt vettünk fel osztályunkra. Az elvégzett vizsgálatok – ebben az életkorban műtéti előzmény nélkül szokatlan módon – mechanicus ileust igazoltak. Az urgens műtét során hasfalba törő, stenotizáló, descendens–sigma határon lévő tumort találtunk, kismedencei carcinosissal. Az extrém colontágulat és serosarepedések miatt subtotalis colectomiát végeztünk, ileosigmoidealis anastomosis képzésével. Az operáció során kismedencei peritonectomia is történt. A resecatum kórszövettani vizsgálata a várt, descendens–sigma határ adenocarcinomáján kívül egy másik, eltérő hisztológiai szerkezetű malignus tumor (jól differenciált neuroendokrin carcinoma [NEC]) egyidejű jelenlétét is igazolta, amelyet intraoperatívan látni, tapintani nem lehetett. A peritonealis áttétképződésért azonban ez a tumor volt felelős.
Betegelégedettségi vizsgálat latissimus dorsi musculocutan lebennyel és azonnali permanens implantátummal végzett emlőrekonstrukciós műtétek után
Authors: Bognár Gábor , Gőgh Bettina , Novák András , István Gábor 
Published: April 2014

AbsztraktAz emlő-helyreállító műtétek között a latissimus dorsi myocutan lebeny azonnal beültetett végleges implantátummal (LDI) elterjedt megoldás. Jelen munkánk célja a LDI rekonstrukció eredményének feldolgozása az életminőség, az esztétika és a betegelégedettség szempontjából. Kérdőíves felmérés során az első tíz LDI rekonstrukción átesett betegünket kérdeztük. Magas elégedettséget igazoltunk az életminőség és az esztétika terén, ami arra utal, hogy a LDI technika kiváló lehetőség az emlőrekonstrukcióra.
Status and distribution of the globally threatened Bristled Grassbird Chaetornis striata (Jerdon, 1841) (Fam. Sylviidae) in Nepal
Authors: Baral Hem Sagar , Wattel Jan , Brewin Philip A , Ormerod Steve J 
Published: April 2014

Lowland grasslands in Nepal were thoroughly surveyed in 1996-1999 to assess the status and distribution of the globally threatened Bristled Grassbird Chaetornis striata. Birds were located on foot, from elephants and from jeeps by sight and sound backed up by mistnets and tape playback. The status information was updated again by visiting these areas in 2010-2012. Bristled Grassbirds were recorded in Sukla Phanta and Koshi Tappu Wildlife Reserves, and Chitwan National Park where most of the Nepal population is confined. From the research, it was found that they were most associated with newly formed Saccharum and Imperata dominated grasslands during summer. The low numbers present during winter suggested that this species was primarily a summer migrant to Nepal. A total population for Nepal is presented based on a reliable density estimate. Loss and degradation of grassland habitat and invasion of Mikania micrantha were identified as the major threats. Further research on migratory status, better control of cattle grazing inside reserves, expansion of Protected Areas to include more grassland, and listing of Bristled Grassbird as protected under the wildlife law of Nepal for its conservation are highly recommended. DOI: http://dx.doi.org/10.3126/init.v5i0.10244 The Initiation 2013 Vol.5; 1-15
Is Community Forestry Supporting for Minimizing the Income Inequality of Different Social Strata of Users’ Households: A case from Gorkha, Nepal
Authors: Kafle Mohan Raj , Upadhyaya Chiranjibi Pd 
Published: April 2014

This research paper describes the share of community forest income to the total income of users’ households and its role in minimizing the inequality among different socio-economic group of users. Community forests support 12.3% of total household income to poor, 4.06% to middle and only 2.78% to rich class households. As there is huge difference in household income between three classes, the absolute income of CF to rich class households is largest though it seems greater to the poor in percentage income terms. Share of household input in terms of annual household income is highest (10.6%) for poor class households and lowest (2.4%) for rich class. CF income has more equalizing effect in the household income of poor class households. DOI: http://dx.doi.org/10.3126/init.v5i0.10245 The Initiation 2013 Vol.5; 16-22