450
Views
0
CrossRef citations to date
0
Altmetric
Research Articles

Docu-musical, migration and media reflexivity in The Harvest (2017) and Dimmi chi sono (2019)

References

  • Altman, R. 1989. The American film musical. Bloomington/London: Indiana University Press.
  • Altman, R. 1992. Sound space. In Sound theory, sound practice, ed. R. Altman, 46–64. New York: Routledge, Chapman, and Hall.
  • Amnesty International 1992. Bhutan: Human Rights Violations against the Nepali-speaking Population in the South. https://www.amnesty.org/download/Documents/192000/asa140041992en.pdf.
  • Angelone, A., and C. Clò. 2011. Other visions: Contemporary Italian documentary cinema as counter-discourse. Studies in Documentary Film 5, no. 2–3: 83–89. doi:10.1386/sdf.5.2-3.83_7.
  • Anjaria, U. 2021. Understanding Bollywood. The grammar of hindi cinema. New York: Routledge.
  • Arnheim, R. 1974. Film als Kunst. Munich: Hansen.
  • Ashcroft, B., G. Griffiths, and H. Tiffin. 2007. Agency. In Post-Colonial Studies. The key concepts. second edition, ed., B. Ashcroft, et al. New York: Routledge: 6–7.
  • Barthes, R. 1980. La chambre claire. Notes sur la photographie. Paris: Seuil.
  • Bertozzi, M. 2008. Storia del documentario italiano. Immagini e culture dell’altro cinema. Padova: Marsilio.
  • Bordwell, D. 1985. The classical hollywood style. In The Classical Hollywood Cinema. Film style & mode of production to 1960, ed. D. Bordwell, J. Staiger, and K. Thompson, 1–84. London: Routledge.
  • Bordwell, D., and K. Thompson 2020. Blog. Observation on Film Art. http://www.davidbordwell.net/blog/category/national-cinemas-italy/
  • Bruno, M. 2015. The Journalistic Construction of ‘Emergenza Lampedusa’: The ‘Arab Spring’ and the ‘Landings’ Issue in Media Representations on Migration. In Destination Italy. Representing migration in contemporary media and narratives, ed. E. Bond, G. Bonsaver, and F. Faloppa, 59–84. Oxford e.a: Peter Lang.
  • Chion, M. 1994. Audio-Vision. Sound on Screen. New York: Columbia University Press.
  • Cohan, S. 2002. Introduction: Musicals of the Studio Era. In Hollywood Musicals. The film reader, ed. S. Cohan, 1–16. London/New York: Routledge.
  • Dimmi chi sono [Sarita]. 2019. Directed by Sergio Basso. Italy/Germany: La Sarraz Pictures.
  • Eitzen, D. 1998. Wann ist ein Dokumentarfilm? Der Dokumentarfilm als Rezeptionsmodus. montage AV. Zeitschrift für Theorie und Geschichte audiovisueller Kommunikation 7, no. 2: 13–44.
  • Frank, H., and E. Lobsien. 2001. Landschaft. In Ästhetische Grundbegriffe, K. Barck, et al. ed. vol. 2, 617–64. Stuttgart/Weimar: Metzler.
  • Friese, H. 2017. Flüchtlinge: Opfer – Bedrohung – Helden. Zur politischen Imagination des Fremden. Bielefeld: transcript.
  • The Harvest. 2017. Directed by Andrea Paco Mariani, Italy: SMK Videofactory.
  • Il vento fa il suo giro [The Wind Blows Round]. 2005. Directed by Giorgio Diritti. Italy: Arancia Film/Imago Orbis Audiovisivi.
  • Io sono Li [Shun Li and the Poet]. 2011. Directed by Andrea Segre. Italy/France: Kodak.
  • Kirchmann, K., and J. Ruchatz. 2014. Einleitung: Wie Filme Medien beobachten. Zur kinematographischen Konstruktion von Medialität. In Medienreflexion im Film. Ein Handbuch, ed. K. Kirchmann and J. Ruchatz, 9–42. Bielefeld: transcript.
  • Knaller, S. 2006. Genealogie des ästhetischen Authentizitätsbegriffs. In Authentizität: Diskussion eines ästhetischen Begriffs, ed. H. Müller and S. Knaller, 17–35. Paderborn/Munich: Fink.
  • Koschorke, A. 1990. Die Geschichte des Horizonts. In Grenze und Grenzüberschreitung in literarischen Landschaftsbildern. Frankfurt/Main: Suhrkamp.
  • Kuhn, M. 2013. “Das narrative Potenzial der Handkamera. Zur Funktionalisierung von Handkameraeffekten in Spielfilmen und fiktionalen Filmclips im Internet.” DIEGESIS Interdisciplinary E-Journal for Narrative Research 2 (1): 92–114. https://www.diegesis.uni-wuppertal.de/index.php/diegesis/article/view/127/149
  • La prima neve [First Snowfall]. 2013. Directed by Andrea Segre. Italy: Jolefilm/Rai Cinema/Aeternam Films.
  • Lefebvre, M. 2006. Between Setting and Landscape in the Cinema. In Landscape and Film, ed. M. Lefebvre, 19–59. London/New York: Routledge.
  • Nichols, B. 1985. The voice of documentary. In Movies and Methods. An anthology. Vol. II, ed. B. Nichols, 258–73. Berkeley and Los Angeles: California UP.
  • Nichols, B. 1991. Representing Reality: Issues and concepts in documentary. Bloomington: Indiana University Press.
  • Nichols, B. 2010. Introduction to Documentary. Bloomington: Indiana University Press.
  • Ophüls, M. 1985. Closely Watched Trains. American Film 11, no. 2.
  • Piccino, C. 2012. II documentario e la migrazione. Un fatto di resistenza. In Il reale allo specchio. Il documentario italiano contemporaneo, ed. G. Spagnoletti, 72–77. Venice: Marsilio.
  • Rajadhyaksha, A. 1998. Indian Cinema. In The Oxford guide to film studies, ed. J. Hill and P.C. Gibson, 535–42. Oxford: Oxford Univ. Press.
  • Reckinger, G. 2014. Jenseits des Alarmismus. Lampedusa und die Notwendigkeit eingreifender Wissenschaft. Österreichische Zeitschrift für Volkskunde 117, no. 3 + 4: 203–26.
  • Rogers, H. 2015. Music and sound in documentary film. New York: Routledge.
  • Ruoff, J. 1992. Conventions of sound in documentary. In Sound theory, sound practice, ed. R. Altman, 217–34. New York: Routledge.
  • Schrader, S. in print. Gettare ponti musicali nel documentario transculturale: L’Orchestra di Piazza Vittorio (2006). In Letteratura e migrazione. Proposte intorno alla figura del ponte, ed. B. Kuhn and M. Liebermann. Roma: Viella.
  • Schrader, S. 2013. Memoria e nostalgia ne Il vento fa il suo giro (Giorgio Diritti). In Un Nuovo Cinema Politico Italiano? lavoro, migrazione, relazioni di genere, vol. 1. ed. W. Hope, L. D’Arcangeli, and S. Serra. ed., 163–73. Leicester: Troubador.
  • Schrader, S. 2019. Transkulturelles italienisches Kino zwischen Dokumentation, Heimatfilm und Melodrama. Andrea Segres Io sono Li (2011) und La prima neve (2013). In Aufgeschlossene Beziehungen. Italien und Deutschland im transkulturellen Dialog. Literatur, Film, Medien. Rezeptionskulturen in Literatur- und Mediengeschichte, ed. E.M. Meineke and E. Spedicato, 285–300. Würzburg: Königshausen & Neumann.
  • Schrader, S. 2020, Soltanto il mare. Lampedusa als Grenzzone dokumentieren. In Agency und Invektivität in zeitgenössischen italienischen Migrationserzählungen: Kino und Literatur, ed. S. Schrader and E. Tiller = Phin Supplement 20, 84–108. https://web.fu-berlin.de/phin/beiheft20/b20t05.pdf
  • Schrader, S. 2022. Paesaggio sacro, Bollywood e transculturalità in The Harvest (2017). Migrazioni, cittadinanze, inclusivitá. Narrazioni dell’Italia plurale, tra immaginario e politiche per la diversitá, ed. L. de Franceschi, and I. Perniola, Rome: tabedizioni.
  • Schrader, S. 2022a. Fuocoammare (2016) tra documentario e finzione. In Forme. ibride e intrecci intermediali. Da Giotto e Dante alla narrativa e alla docufiction contemporanee, ed. C. Rivoletti and J. Brühne, et al. 241–257. Frankfurt/Main: Peter Lang.
  • Thompson, K. 1988. Breaking the Glas Armor. Neoformalist Fim Analysis. Princeton: Princeton University Press.
  • Uhl, M., and J.K. Keval. 2004. Indischer Film. Eine Einführung. Bielefeld: transcript.
  • Wolf, W. 2009. Metareference across Media: The concept, its transmedial potentials and problems, main forms and functions. In Metareference across Media: Theory and case studies, ed. W. Wolf, K. Bantleon, and J. Thoss, 1–85. Leiden: Brill.
  • Wortmann, V. 2003. Authentisches Bild und authentisierende Form. Cologne: von Halem.
  • Zhang, G. 2018. Documentary films on migrations in Italy: Characteristics and ethics. Journal of Italian Cinema & Media Studies 6, no. 1: 8–14. doi:10.1386/jicms.6.1.3_2.