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

意大利电影的主流叙述往往完全抹去了女性的贡献。意大利最典型的新现实主义电影《罗马开放之城》（Roma citt<e:1> aperta， 1945年）是由一位名叫乔兰达·本韦努蒂（Jolanda Benvenuti）的女性编辑的，这一点，甚至在意大利电影专家中也广为人知。或者像亚历山德罗·布拉塞蒂和维托里奥·德西卡这样的杰出导演都非常依赖女助理导演的贡献，分别是伊萨·巴尔塔利尼和路易莎·亚历山德里？苏索·切奇·达米科多年来一直是意大利唯一一位获得赞誉的女编剧，她究竟在多大程度上得到了应有的褒奖？除了这些女性之外，还有许多其他人的名字可以在电影演职员表的底部找到，还有数百名姓名根本没有记录的匿名工人。该项目将通过揭示在该行业全盛时期工作的隐形女性，挑战男性成就的主流叙事。该项目将首次系统地调查女性在二战后到20世纪80年代意大利电影工业衰落的几十年里的崛起和肯定中的地位。与许多其他电影行业相比，在20世纪40年代和50年代，意大利很少有女性担任负责/决策的角色。后来，进入这个行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。该项目将通过从新的角度研究现有档案并将新的档案带入公共领域，对日益增多的关于电影工业中的妇女的研究作出重大贡献。它将有助于理解女性在20世纪40年代至70年代少数女性导演出现期间在意大利电影的各个层面上发挥创造性作用的程度。意大利电影行业特别有趣，因为它呈现出与美国和英国电影行业截然不同的特征，而美国和英国电影行业是大多数女性电影工作者研究的对象。这些因素包括，在其历史上，国家的高度介入和政治干预，具有强大家族成分的中小企业占主导地位，而不是大型工作室，以及不完整的工会组织——所有这些都可以在其他欧洲和欧洲以外的国家找到。该项目将收集制片人、编剧、助理导演、制作经理、秘书、法律顾问、电影编辑和服装设计师等在该行业担任不同角色的女性的口头证词。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：编剧苏索·切奇·达米科（私人持有）、制片经理玛拉·布拉塞蒂（博洛尼亚电影公司）和纪录片制片人塞西莉亚·曼吉尼（博洛尼亚电影公司）。此外，团队成员将研究意大利、法国、英国和美国公共机构中广泛的个人和行业档案。在某些情况下，这将需要重新访问重要档案，比如布拉塞蒂（Blasetti）、德西卡（De Sica）、维斯康蒂（Visconti）和制片人克里斯塔迪（Cristaldi）的导演档案，研究像巴尔塔利尼（Bartalini）和亚历山德里（Alessandri）这样在幕后担任助理和秘书角色的女性的贡献。在其他案例中，比如苏索·切奇·达米科和她的女儿们，以及制片人玛丽娜·西科尼亚和玛丽娜·皮佩诺，这将涉及到将被忽视或不被认可的女性重新融入意大利电影的创意和工业层面。该项目将与意大利和英国工业和部门协会的主要妇女合作，提高对妇女在国内和国际工业中的历史贡献的认识，并阐明形成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。

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.