sabine schrader

Italy is more strongly influenced by the experiences of migrants than many other European countries. This includes an historically ongoing internal migration from the south to the north, which is strongly echoed in neo-realism; a mass emigration mainly to western Europe and North and South America that is connected with mafia films, among others, in Italy’s collective imaginary; as well as a more recent immigration influx from the southwestern Mediterranean, which is dealt with at a film level in New Italian Cinema of recent decades. Thus, three forms of migration have affected politics as well as Italy’s film history; the latter, through the development of new genres and sub-genres. In this manner, questions concerning cultural studies are intersected with those of film aesthetics in this volume. The Cinemas of Italian Migration: European and Transatlantic Narratives brings together for the first time international contributions on early post-WWII cinema such as Il cammino della speranza (The Road to Hope, Pietro Germi, 1950) and I magliari (The Magliari, Francesco Rosi, 1959), with Migrant Road Movie classics like Lamerica (Gianni Amelio, 1994) and contemporary Italian comedies like Into Paradiso (Into Paradise, Paola Randi, 2010). Additionally, this volume includes articles dealing with often marginalized filmmakers (e.g. Vincenzo Marra and Roberta Torre), independent productions (among others, Carmine Amoroso’s Cover Boy, 2006) and genres such as contemporary Italian documentary films (e.g. Andrea Segre’s A Sud di Lampedusa/South of Lampedusa, 2006). The migration narratives are shaped by European and transatlantic filmmakers, not only by Ferzan Ozpetek but also by Werner Schroeter from Germany, Denis Rabaglia from Switzerland, Martin Scorsese from the US and Sandra Gugliotta from Argentina, to name just a few examples.

TV Glokal ist der erste Band, der sich exklusiv der europäischen TV-Serie widmet. Im Zentrum steht die Frage nach glokalen Strukturen und Ästhetiken, d.h. nach den Formen der Aneignung globaler (US-amerikanischer) Formate in Europa. Der Band vereint neben einer ausführlichen Einführung zum Thema 14 Beiträge zu unterschiedlichen Fernsehserien (v.a. seit den 1990er Jahren). Der Schwerpunkt liegt dabei neben dem deutsch- und englischsprachigen Raum auf Frankreich, Italien und Spanien. Zudem werden Fernsehserien aus in der deutschsprachigen Medienwissenschaft selten fokussierten Ländern wie Portugal, Russland und Tschechien vorgestellt.

Inhalt (Auszug)

Europäisches Qualitätsfernsehen: Serienzeit und Metatelevisivität
Beate Ochsner
Zeit der Helden – Serienfiktion in Echtzeit
Sabine Schrader
Das italienische Sondermodell. Metatelevisivität in Boris (2007-2010)
Christian von Tschilschke
Europäisches Qualitätsfernsehen? Die TV-Miniserie Carlos von Olivier Assayas

Region in Serie
Uta Fenske
„Ein Paradies mitten in Europa.“ Deutsche in Tirol: Die Piefke-Saga
Kathrin Ackermann
Globale, regionale und lokale Kontexte in Les Vivants et les Morts
Jörg Türschmann
Dorfchroniken: wie TV-Serien von Menschen auf dem Land erzählen
Susanne Marschall
Sex, Drugs und Rock’n Roll – Das Konzept der Schwabenserie Die Kirche bleibt im Dorf

Nationen …
Oliver Fahle
Mediale Serialität und serielles Gedächtnis. Neuere TV-Serien Portugals
Eva Binder
Filmwahrheit und Serienhelden: Das Film-Projekt Srok im medialen, kulturellen und politischen Kontext von Putins Russland

The discussion of Italian literature and culture within Italian Studies has been for a long time restricted to the geographical boundaries of Italy itself. The last decades have shown, however, an opening towards a broader vision, especially in the context of theoretical approaches such as Postcolonialism, Cultural Translation, and TransArea Studies.Analogous to Francophone and Hispanophone Studies, Italian Studies has begun to also focus on the so-called ‘guest worker’ and Migration literature, a genre which includes not only the literature of authors who migrated to Italy, but also ‘Italian’ literature originating in countries like France, Germany, and the United Kingdom. Strikingly, up until now, literature and media originating in the Italo-American context have been studied much more frequently in other fields of research, such as American and Canadian Studies, than in (European) Italian Studies. This edition of Lettere aperte’s 2nd edition will for that reason be dedicated to Italo-American Culture.

Italy is more strongly influenced by the experiences of migrants than many other European countries. This includes an historically ongoing internal migration from the south to the north which is strongly echoed in Neo-realism, a mass emigration mainly from western Europe and North and South America that is connected with mafia films, among others, in Italy's collective imaginary as well as a more recent immigration influx from the southwestern Mediterranean which is dealt with at a film level in New Italian Cinema in the recent decades. Thus, three forms of migration have affected politics as well as Italy's film history, the latter, through the development of new genres and sub-genres. In this manner, questions concerning cultural studies are intersected with those of film aesthetics in this volume. The Cinemas of Italian Migration: European and Transatlantic Narratives brings together for the first time international contributions on the early post-WWII cinema like Il cammino della speranza (The Road to Hope Pietro Germi, 1950) or I magliari (The Magliari Francesco Rosi, 1959) with Migrant Road Movie classics like Lamerica (Gianni Amelio, 1994) and contemporary Italian comedies like Into Paradiso (Into Paradise Paola Randi, 2010). Additionally, this volume includes articles dealing with often marginalized filmmakers (e.g. Vincenzo Marra, Roberta Torre), independent productions (among others, Carmine Amoroso's Cover Boy, 2006) and genres like contemporary Italian documentary films (e.g. Andrea Segre's A Sud di Lampedusa/South of Lampedusa, 2006). The migration narratives are shaped by European and transatlantic filmmakers, not only by Ferzan Ozpetek but also by Werner Schroeter from Germany, Denis Rabaglia from Switzerland, Martin Scorsese from the US and Sandra Gugliotta from Argentina, to name just a few examples.

Cesare Sterbini / Gioachino Rossini, Il barbiere di Siviglia ossia L'inutile precauzione, in: Italienisches Theater. Geschichte und Gattungen von 1480 bis 1890, hrsg. von Daniel Winkler, Sabine Schrader und Gerhild Fuchs, Berlin 2015, S. 317-327