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.

对意大利电影的主要描述往往完全抹杀了女性的贡献。就连意大利电影专家也知道，意大利新现实主义最经典的电影《罗马开放之城》(Roman Open City，1945)是由一位名叫若兰达·本维努蒂(Jolanda Benvenuti)的女性剪辑的。或者像亚历山德罗·布拉塞蒂和维托里奥·德·西卡这样的著名导演严重依赖她们的女性助理导演伊萨·巴塔里尼和路易莎·亚历山德里的贡献？苏索·切奇·达米科多年来一直是意大利唯一被誉为女编剧的人，她在多大程度上受到了应有的赞扬？除了这些女性，还有许多其他人的名字可以在电影字幕的下游找到，还有数百名匿名工人的名字根本没有被记录下来。这个项目将通过揭示在该行业全盛时期工作的隐形女性来挑战流行的男性成就叙事。该项目将首次系统地调查女性在意大利电影业的崛起和肯定中的地位，从二战后的几十年到20世纪80年代的衰落。与其他许多电影业相比，在20世纪40年代和50年代的意大利，很少有女性担任负责/决策的角色。后来，进入电影业的女性往往扮演着传统上没有得到太多认可的辅助角色。该项目将从一个新的角度研究现有档案，并将新的档案带入公共领域，从而为越来越多的电影行业女性研究做出实质性贡献。它将有助于理解在20世纪40年代到70年代出现少数几位女性导演之间，女性在意大利电影的各个层面发挥了多大的创造性作用。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点，后者构成了大多数关于女性电影工作者的研究对象。这些问题包括在其整个历史上高度的政府参与和政治干预，具有强大家族成分的中小企业占主导地位，而不是大型制片厂，以及零星的工会--所有这些都可以在其他欧洲和非欧洲国家找到。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、电影剪辑和服装设计师。这些故事将与三位在不同领域工作的关键女性的个人文件一起阅读：编剧Suso Cecchi D‘Amico(私人持有)、制片经理Mara Blasetti(博洛尼亚电影院)和纪录片制片人塞西莉亚·曼吉尼(Cecilia Mangini)(博洛尼亚电影院)。此外，团队成员将研究意大利以及法国、英国和美国公共机构保存的广泛的个人和行业档案。在某些情况下，这将需要重新访问主要档案馆，如布拉塞蒂、德·西卡、维斯康蒂和制片人克里斯塔迪的馆长，研究在幕后担任助理和秘书职务的巴塔里尼和亚历山德里等女性的贡献。在其他情况下，比如Suso Cecchi D‘Amico和她的女儿，以及制片人Marina Cicogna和Marina Piperno，它将涉及让被忽视或被低估的女性重新融入对意大利电影创意和工业方面的理解。该项目将与意大利和英国工业和部门协会中的主要妇女接触，以提高对妇女在国家和国际工业中的历史贡献的认识，并阐明影响当代媒体行业中持续存在的形式的性别劳动、报酬不平等和性骚扰的长期因素。