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Sentimental Mafia, This Invisible Thing of Ours: The Mafia and Politics in American and Italian Film and Media

机译：感伤的黑手党，这是我们的无形事物：美国和意大利电影和媒体中的黑手党与政治

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摘要

This dissertation examines what is political in American and Italian cinema through the lens of the Mafia film. "Political" here refers to films which encourage active spectatorship by questioning historical facts, societal ideals, and ideological contradictions, and provoking thought. Because of historical circumstances, ethnic diversity in the U.S in contrast to a lack of ethnic diversity in Italy, and different traditions of cinema, Italian Mafia films typically lack the romanticism so commonplace in American Mafia films.;While Italian directors often insist that it is their express intention to send a political message in these films, they are not always successful in doing so. Directors like Rosi, Petri and Rossellini provide models for a political cinema, but in today's media-saturated world, and in a cinema climate dominated by Hollywood Blockbusters, a new kind of cinema is imperative in order to be effectively political. Directors like Stefano Incerti and Paolo Sorrentino, whose films I discuss at length, provide models for how this may be done.;American Mafia films often romanticize the Mafia and use the Mafia to explore issues other than the Mafia and organized crime (e.g. ethnicity, family dynamics, the immigrant experience, the myth of the American Dream) and are, ultimately, not political. There are, however, other successfully political films: films about race, class, sexuality, discrimination, and war. As with Mafia films, subject matter alone does not make these films political. Rather, it is how these films tackle their subject matter that makes them effective. Thus, in addition to Mafia films and the television series The Sopranos, I also examine war films and films about race.;Finally, because of the way in which screen stereotypes and icons inform both the way in which we perceive reality and the way in which the media reports and constructs reality, I examine news coverage of the Mafia, marketing of Mafia films and television series, and the way in which these representations shape both our perception of reality and reality itself.
机译：本文通过黑手党电影的镜头，考察了美国和意大利电影中的政治性。这里的“政治性”是指通过质疑历史事实，社会理想，意识形态矛盾和挑衅思想来鼓励活跃观众的电影。由于历史原因，美国的种族多样性与意大利缺乏种族多样性以及电影的传统不同，意大利黑手党电影通常缺乏在美国黑手党电影中如此司空见惯的浪漫主义。他们在这些电影中表达政治意图的明确意图，但并非总是如此。罗西（Rosi），佩特里（Petri）和罗塞利尼（Rossellini）等导演为政治电影提供模型，但在当今媒体充斥的世界中，在好莱坞大片（Hollywood Blockbusters）主导的电影环境中，为了有效地发挥政治作用，新型电影必不可少。斯蒂芬诺·因切蒂（Stefano Incerti）和保罗·索伦蒂诺（Paolo Sorrentino）等导演为我提供了详尽的讨论，他们为影片提供了模型。家庭动态，移民经历，美国梦的神话），最终都不是政治性的。但是，还有其他成功的政治电影：关于种族，阶级，性，歧视和战争的电影。与黑手党电影一样，仅题材本身并不会使这些电影具有政治性。而是，这些电影如何处理其主题才使它们有效。因此，除了黑手党电影和电视连续剧《黑道家族》之外，我还研究了有关种族的战争电影和电影。最后，由于屏幕刻板印象和图标既反映了我们感知现实的方式，也反映了人们对现实的认识。通过媒体报道和构建现实，我研究了《黑手党》的新闻报道，黑手党电影和电视连续剧的营销以及这些表述塑造我们对现实和现实本身的看法的方式。

著录项

  • 作者

    Oram, Lydia Miranda.;

  • 作者单位

    New York University.;

  • 授予单位 New York University.;
  • 学科 Film studies.;Comparative literature.;Romance literature.
  • 学位 Ph.D.
  • 年度 2011
  • 页码 806 p.
  • 总页数 806
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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