A Girls' Eye-view: Girlhood on the Italian screen since the 1950s

女孩视角：20 世纪 50 年代以来意大利银幕上的少女时代

• 批准号: AH/V00266X/1
• 负责人: Danielle Hipkins
• 金额: $ 83.55万
• 依托单位: UNIVERSITY OF EXETER
• 依托单位国家: 英国
• 项目类别: Research Grant
• 财政年份: 2021
• 资助国家: 英国
• 起止时间: 2021 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FV00266X%2F1
• 关键词: Girls; Eye; view; Girlhood; Italian

In 2019 we asked a group of Italian young women, aged 18-25, what they thought of screen representations of girlhood produced in Italy. 'Where is the product for us?' the group asked. A second group, of girls aged 14-16, took it for granted that 'their' product was in fact US-produced film and television, and that Italian cinema and television were 'for their parents'. Where indeed are the Italian-made products that address and depict younger women? As platform services blur the boundaries between film and television and shift traditional power structures, they are opening up new opportunities to address young women (Buccifero, 2019). Recent television series like 'My Brilliant Friend' (RAI/HB0, 2018) and 'Baby' (Netflix original, 2018) are attracting younger female audiences. This promising shift makes this a timely moment for the Italian film industry to build these audiences. Whilst Italian audiences have always valued US products, in the 1950s young women were a strong element of Italian cinema's address (Morreale, 2011). Over the decade, however, it turned towards male audiences, and stayed there (Fanchi, 2007). This project will contribute in a timely fashion to a new inclusivity for Italian cinema. It aims to re-engage the film industry with female audiences, and female audiences with Italian cinema, around the question of girlhood, using a feminist, intergenerational perspective that brings girls' and women's voices to the foreground. Working between the UK and Italy, with an intergenerational team, our project will produce a book in English and Italian, an article, and a bilingual multimedia website and database. Our monograph will initially trace the relationship between press discourse and girls on screen from the 1950s. We will chart the history of representations of girlhood in and around Italian cinema and television; preliminary archival research shows that these are always closely tied to questions of sexuality and the body politic. With the turn towards male audiences and the proliferation of pornography, these patterns established a voyeuristic gaze upon the figure of the girl, still present on today's screen. Through archival research we will also interrogate how postfeminist and popular feminist discourses have become entangled in contemporary ways of talking about girls in Italy. In the context of this history, we will then carry out a more detailed analysis of contemporary Italian cinema and selected television from the last decade. The bulk of our textual analysis will integrate the responses of Italian girls (aged 14 to 18) into our analysis, drawing upon data generated through individual interviews, screenings and focus group discussion. Our project will also set young women's consumption of Italian products in the context of their broader patterns of media consumption, and ask just how important Italian productions are, or could be, to their process of growing up. If they do not perceive them as relevant, why is that? When it is, how do they respond to them? These findings will be central to the impact of our project, as we ask stakeholders in the film industry to address these questions too. This project also examines cultural memory as a key element of being a girl. As historian Franca Bimbi argues, in Italy becoming a woman is still as dependent on previous generations' understanding of the process as it is on that of the peer group. Therefore, in its final stage the project will use a participatory oral history method to put young women in dialogue with previous generations of women about the relationship between cinema and growing up. In this way we return to the periods examined at the beginning of our book, through oral history. Female audiences in Italy have largely been ignored. Not only does this project want to contribute to their recovery, but it aims to put them at the creative centre of that recovery process, thereby finally making them stakeholders in the future of the industry.

2019年，我们询问了一群年龄在18-25岁之间的意大利年轻女性，她们对意大利制作的少女时代的银幕表现有何看法。我们的产品在哪里？”众人问。第二组是14-16岁的女孩，她们想当然地认为“她们”的产品实际上是美国制作的电影和电视，而意大利的电影和电视是“给她们父母看的”。意大利制造的针对和描绘年轻女性的产品在哪里？随着平台服务模糊了电影和电视之间的界限，并改变了传统的权力结构，它们为解决年轻女性问题开辟了新的机会（Buccifero，2019）。最近的电视连续剧，如“我的聪明朋友”（RAI/HB 0，2018）和“宝贝”（Netflix原创，2018）正在吸引年轻的女性观众。这一充满希望的转变使意大利电影业成为建立这些观众的及时时机。虽然意大利观众一直重视美国产品，但在20世纪50年代，年轻女性是意大利电影的重要元素（Morreale，2011）。然而，在过去的十年里，它转向男性观众，并保持在那里（Fanchi，2007年）。该项目将及时为意大利电影的新包容性做出贡献。它的目的是围绕少女时代的问题，利用女权主义、代际观点，突出女孩和妇女的声音，使电影业重新与女性观众接触，使女性观众重新与意大利电影接触。在英国和意大利之间工作，与一个代际团队，我们的项目将产生一本书在英语和意大利语，一篇文章，和双语多媒体网站和数据库。我们的专题论文将首先追溯20世纪50年代以来媒体话语和银幕上的女孩之间的关系。我们将描绘意大利电影和电视中和周围的少女时代的代表性的历史;初步的档案研究表明，这些总是与性和身体政治的问题密切相关。随着男性观众的转向和色情作品的泛滥，这些模式建立了对女孩形象的偷窥，仍然存在于今天的屏幕上。通过档案研究，我们还将询问后女权主义和流行的女权主义话语是如何与当代谈论意大利女孩的方式纠缠在一起的。在这段历史的背景下，我们将对当代意大利电影和过去十年的电视节目进行更详细的分析。我们的大部分文本分析将意大利女孩（14至18岁）的反应纳入我们的分析，通过个人访谈，筛选和焦点小组讨论产生的数据。我们的项目还将把年轻女性对意大利产品的消费置于她们更广泛的媒体消费模式的背景下，并询问意大利产品对她们的成长过程有多重要。如果他们不认为它们是相关的，为什么呢？如果是的话，他们会如何回应？这些发现将对我们项目的影响至关重要，因为我们也要求电影业的利益相关者解决这些问题。该项目还将文化记忆作为女孩的一个关键因素进行研究。正如历史学家弗兰卡宾比（Bimbi）所指出的，在意大利，成为一名女性仍然取决于前几代人对这一过程的理解，就像它取决于同龄人一样。因此，在项目的最后阶段，将采用参与性口述历史的方法，让年轻妇女与前几代妇女就电影与成长之间的关系进行对话。这样，我们就可以通过口述历史回到本书开头所考察的那些时期。意大利的女性观众基本上被忽视了。该项目不仅希望为他们的恢复做出贡献，而且旨在将他们置于恢复过程的创意中心，从而最终使他们成为该行业未来的利益相关者。