WOMEN IN ITALIAN FILM PRODUCTION: INDUSTRIAL HISTORIES AND GENDERED LABOUR, 1945-85

意大利电影制作中的女性：工业历史和性别劳动，1945-85

• 批准号: AH/X001393/1
• 负责人: Stephen Gundle
• 金额: $ 101.06万
• 依托单位: University of Warwick
• 依托单位国家: 英国
• 项目类别: Research Grant
• 财政年份: 2023
• 资助国家: 英国
• 起止时间: 2023 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FX001393%2F1
• 关键词: WOMEN; ITALIAN; FILM; PRODUCTION; INDUSTRIAL

The dominant accounts of Italian cinema have often erased completely the contributions of women. How widely is it known, even among specialists of Italian cinema, that the most canonical film of Italian neorealism, Roma città aperta (Rome Open City, 1945), was edited by a woman, Jolanda Benvenuti? Or that such prominent directors as Alessandro Blasetti and Vittorio De Sica relied heavily on the contributions of their female assistant directors, respectively Isa Bartalini and Luisa Alessandri? To what extent even has proper merit been given to Suso Cecchi d'Amico, for many years the only credited female screenwriter in Italy? Beyond these women, there are many others whose names can be found in the lower reaches of film credits and hundreds of anonymous workers whose names have not been recorded at all. This project will challenge the prevailing narratives of male achievement by shedding light on the invisible women who worked in the industry during its heyday. The project will for the first time systematically investigate the place of women in the rise and affirmation of the Italian film industry in the decades after World War Two until its decline in the 1980s. Compared to many other film industries, there were few women in responsible/decision-making roles in Italy in the 1940s and 1950s. Later also, the women who entered the industry often fulfilled support roles that have not conventionally achieved much recognition.The project will make a substantial contribution to the growing body of research on women in film industries by studying existing archives from a new perspective and bringing new archives into the public realm. It will contribute to an understanding of the extent to which women played a creative part at all levels of Italian cinema between the 1940s and the emergence of a handful of female directors in the 1970s. The Italian industry is especially interesting because it presents characteristics very different from the American and British industries which have formed the object of most research on female cinema workers. These include a high level of state involvement and political interference throughout its history, the predominance of small and medium-sized enterprises with a strong family component rather than large studios, and patchy unionisation - all of which can also be found in other European and extra-European countries. The project will gather oral testimonies from women who worked in the industry in different roles, including producer, screenwriter, assistant director, production manager, secretary, legal advisor, film editor and costumier. These stories will be read alongside the personal papers of three key women who worked in different spheres: the screenwriter Suso Cecchi D'Amico (held-privately), the production manager Mara Blasetti (Cineteca di Bologna) and the documentary film-maker Cecilia Mangini (Cineteca di Bologna). In addition, team members will study a wide range of personal and industry archives held in public institutions in Italy as well as France, the UK and the USA. In some cases, this will entail re-visiting major archives like those of the directors of Blasetti, De Sica, Visconti and the producer Cristaldi, researching the contributions of women like Bartalini and Alessandri who worked in the background, in assistant and secretarial roles. In other cases, such as that of Suso Cecchi D'Amico and her daughters, and the producers Marina Cicogna and Marina Piperno, it will involve reintegrating overlooked or under-acknowledged women into the understanding of both the creative and industrial aspects of Italian cinema. The project will engage with key women in industry and sector associations in Italy and the UK to raise awareness of the historical contribution of women in national and international industries and to shed light on the longstanding factors shaping ongoing forms of gendered labour, remunerative inequalities and sexual harassment in contemporary media industries.

意大利电影的主流叙述常常完全抹杀女性的贡献。意大利新现实主义最经典的电影《罗马开放城市》（Roma città aperta，1945 年）是由一位名叫约兰达·本韦努蒂 (Jolanda Benvenuti) 的女性剪辑的，这一点即使在意大利电影专家中也广为人知吗？或者像亚历山德罗·布拉塞蒂（Alessandro Blasetti）和维托里奥·德西卡（Vittorio De Sica）这样的著名导演严重依赖她们的女助理导演伊莎·巴塔利尼（Isa Bartalini）和路易莎·亚历山德里（Luisa Alessandri）的贡献？苏索·切奇·达米科 (Suso Cecchi d'Amico) 多年来一直是意大利唯一受赞誉的女编剧，在多大程度上获得了应有的荣誉？除了这些女性之外，还有许多其他人的名字可以在电影片尾字幕中找到，还有数百名匿名工人的名字根本没有被记录下来。该项目将通过揭示在该行业鼎盛时期工作的隐形女性来挑战对男性成就的普遍看法。该项目将首次系统地调查从第二次世界大战后的几十年到 20 世纪 80 年代意大利电影业的衰落，女性在意大利电影业的崛起和肯定中的地位。与许多其他电影行业相比，20 世纪 40 年代和 1950 年代的意大利，担任负责/决策角色的女性很少。后来，进入该行业的女性往往扮演一些传统上没有获得太多认可的支持角色。该项目将从新的角度研究现有档案并将新档案带入公共领域，为日益增长的电影行业女性研究做出重大贡献。它将有助于了解从 20 世纪 40 年代到 1970 年代出现少数女性导演期间，女性在意大利电影各个层面发挥创意的程度。意大利电影业特别有趣，因为它呈现出与美国和英国电影业截然不同的特征，美国和英国电影业构成了大多数女性电影工作者研究的对象。其中包括整个历史上高度的国家参与和政治干预、具有强大家族成分而不是大型工作室的中小型企业占主导地位，以及零散的工会组织——所有这些在其他欧洲和欧洲以外国家也可以找到。该项目将收集在该行业担任不同角色的女性的口头证词，包括制片人、编剧、助理导演、制作经理、秘书、法律顾问、电影剪辑师和服装师。这些故事将与三位在不同领域工作的重要女性的个人论文一起阅读：编剧 Suso Cecchi D'Amico（私人持有）、制作经理 Mara Blasetti（博洛尼亚电影中心）和纪录片制片人 Cecilia Mangini（博洛尼亚电影中心）。此外，团队成员还将研究意大利以及法国、英国和美国公共机构保存的各种个人和行业档案。在某些情况下，这将需要重新查阅布拉塞蒂、德西卡、维斯康蒂和制片人克里斯塔尔迪等导演的主要档案，研究像巴塔利尼和亚历山德里这样在后台、担任助理和秘书角色的女性的贡献。在其他情况下，例如苏索·切奇·达米科 (Suso Cecchi D'Amico) 和她的女儿们，以及制片人玛丽娜·西科尼亚 (Marina Cicogna) 和玛丽娜·皮佩尔诺 (Marina Piperno) 的情况，这将涉及让被忽视或未被充分认识的女性重新融入对意大利电影的创意和工业方面的理解。该项目将与意大利和英国的行业和部门协会中的主要女性合作，提高人们对女性在国内和国际行业中的历史贡献的认识，并揭示影响当代媒体行业中持续存在的性别劳动、报酬不平等和性骚扰形式的长期因素。