Journal of Italian Cinema & Media Studies

Call for Papers for a Special Issue

The circulation of the Italian cinema in United States between 1945 and 1975.

Distribution, reception, impact

Guest-editors:

Federico di Chio, Università Cattolica del Sacro Cuore and Università degli Studi di Bologna

Marina Nicoli, Bocconi University

Immediately after the Second World War, Italian cinema experienced a surge in popularity in the United States, notably with neorealist classics like Open City (Rossellini, 1945), Obsession (Visconti, 1943), Paisan (Rossellini, 1946) and Bicycle Thieves (De Sica, 1948). After that, Italian cinema witnessed a steady increase in its distribution in American theatres, reaching its zenith in the mid-1960s, enjoying both high success with the public and appreciation from critics. The Academy awarded four Oscars to Vittorio De Sica (Shoeshine, 1948; Bicycle Thieves, 1950; Yesterday, Today and Tomorrow, 1965, The Garden of the Finzi Contini, 1972) and four to Federico Fellini (La strada, 1957; The Nights of Cabiria, 1958; 8½, 1964; Amarcord, 1975). The influence and popularity of Italian films extended well beyond auteur films, with historical and mythological epics, such as the Hercules saga (Hercules) (Francisci, 1957); Hercules Unchained (Francisci and Bava, 1959) which achieved flattering results. Although there was a slight decline following its hight (mid-1960s), Italian cinema maintained its relevance, with directors like Luchino Visconti, Michelangelo Antonioni, Sergio Leone and emerging talents such as Bernardo Bertolucci, Pier Paolo Pasolini, Lina Wertmüller and Liliana Cavani. Furthermore, the impact of Italian cinema on American auteurs, including Sam Peckinpah, Quentin Tarantino, Woody Allen and Martin Scorsese, solidified its enduring legacy.

The fascinating history of Italian cinema in the United States has been primarily depicted in fragments through the professional biographies of key figures, such as producers (e.g., Dino De Laurentiis), distributors (e.g., Joseph E. Levine), directors (e.g., Sergio Leone) and performers (e.g., Sofia Loren). Critical reception of Italian films has been explored by some scholars, particularly focusing on neorealism films (Schoonover 2008) and subsequent auteurs, notably Antonioni, Fellini, Visconti and Leone (Garofalo 2023). Distribution strategy of Italian top-grossers has been illustrated by few contributions focused on art-house venues (Wilinski 2001, Segrave 2004, Balio 2010, McKenna 2016, Garofalo 2023). Preliminary investigations have also been conducted on the influence of these auteurs on emerging American filmmakers (McDonald Carolan 2013). However, what is lacking is an overarching framework that integrates the artistic and stylistic features with the socio-cultural and economic-industrial dimensions.

The currently available academic contributions focus on the ‘tip of the iceberg’ and lack a convincing analysis in addressing more fundamental issues, such as: How many Italian films were distributed in the United States between 1945 and 1975? Which films were distributed (genre, directors, actors)? Who were the producers and distributors involved in their distribution? Which was the distribution strategy and what were the outcomes of these distribution efforts? These inquiries are essential for a comprehensive understanding of the distribution and reception of Italian cinema in the United States during the period under investigation.

The special issue of the Journal of Italian Cinema & Media Studies aims to delve into the analysis of the circulation of Italian cinema in the United States from 1945 to 1975 with a more organic approach by covering both the economic as well as the artistic dimensions of the phenomenon. We aim to feature interdisciplinary contributions and draw upon a rich array of previously unpublished data sourced from archival materials, encompassing diplomatic, industrial, and banking records from Italy and the United States. Additionally, insights from sector-specific press in both countries will be seamlessly integrated. This comprehensive approach is designed to deliver a more professional and coherent examination of the distribution and reception of Italian cinema in the United States in the post-Second World War era.

We aim to foster interdisciplinary dialogue and collaboration among scholars, inviting them to contribute with their studies, research, and insights to enrich the discussion.

We invite you to submit proposals about the following topics (the list is not exhaustive):

• Neorealism: impact on American intellectual elites and young authors
• Italian cinema and Italian-American audiences (the 'ethnic distribution')
• Italian art films and American metropolitan audiences (the 'art-house' distribution)
• Italian adventure movies and American popular audiences (the 'commercial' distribution)
• The Italian comedy and the American audiences
• Italian films belonging to the tradition of Meridionalism/melodrama/opera and their circulation in the United States
• The Cosmopolitanism of the Italian film industry: the success of Italian actors/actresses and their personal adventures in Hollywood
• The story and the role of the independent American distributors who promoted Italian cinema in the United States
• The story and the role of Italian distributors who settled in the United States to distribute Italian cinema
• Italian cinema and American censorship (Production Code Authority, Legion of Decency and local/district censorship)
• The Academy of Motion Picture Arts and Sciences and the Italian cinema

Please submit a 350-500-word proposal in English of original and unpublished research plus a filmography and bibliography, and a biographical note of about 150 words to Prof. Federico di Chio (federico.dichio@mediaset.it) and Prof. Marina Nicoli (marina.nicoli@unibocconi.it) by 31 May 2024.

The outcome of the selection process will be communicated by 30 June 2024. Authors of the selected proposals will be invited to submit full-length articles by 30 November 2024. Their articles will be peer-reviewed and, if accepted, they will be published in a forthcoming special issue of the Journal of Italian Cinema & Media Studies.