Abstract
In this article, the writer discusses that the comedy of Italian film contains many elements, although it relies greatly on comedic techniques of the past, as well as intelligence to guide its progression. The writer explains that for example, William Shakespeare often used the comedic technique of mistaken identities to place his characters in situations that were ripe with comedic tension. The writer points out that this technique still remains useful in Italian cinema through the work of Roberto Benigni in 'Johnny Stecchino'. The writer discusses that Benigni also creates comic characters within his films that appear to be foolish on the surface, but that are capable of leading the audience to contemplate the world, such as the world that is created in "La Vita e'Bella", or Life is Beautiful.

From the Paper
"This is also true of the Icicle Thief by Maurizio Nichetti, where the commercialism of the era is presented in a fast paced comedy that forces the audience to consider how society has accepted commercialism over art. These techniques are widely accepted by audiences because they acknowledge the audience as intelligent human beings and are tried and successful methods of the past. The film Johnny Stecchino Roberto Benigni wrote, directed a starred in the comedy, which places him in multiple roles during the film. The movie demonstrates the reliance on physical farce and mistaken identity in Italian comedy, as well as the reality that people will go to any extent to gain what they desire. "

Tags:film, directors

Abstract
This paper analyzes the comedy of Italian film and suggests that while it contains many elements, it relies greatly on comedic techniques of the past, as well as intelligence to guide its progression. The paper presents many examples of these techniques and shows where in the films they can be found. It also discusses the success of the use of these techniques.

From the Paper
"The Icicle Thief by Maurizio Nichetti accomplishes this task as well. Through the fast paced visions of changing locations, commercial intrusions and cinematic special effects the film presents the portrayal of multiple characters played by Nichetti. The Icicle Thief is entitled such to correlate to the Italian masterpiece The Bicycle Thief; yet, it remains connected to the latter film only through the title and through the understanding of the art of film. This understanding, however, is intellectual because Nichetti's work asks the audience to understand how artistic endeavors are often sabotaged by the commercialism that exists throughout the world. As a matter of fact, Nichetti demonstrates that the commercialism has grown so intense that audiences rarely even realize its presence in life or its impact on the filmmaking world."

Tags:Icicle, Thief, Benigni, cinema, audience

Abstract
A discussion of Italians' roots in the film industry as well as their negative representations as boors and gangsters on the big screen. The paper includes an in-depth look at the movies "To Die For" and "Shark Tale", as well as the implications of negative Italian stereotyping.

From the Paper
"According to a recent United States census, there are millions of persons of Italian descent dwelling in the United States, making Italian-Americans the nation's fifth largest ethnic group. Ironically, both the Italian settlers who immigrated to the United States as well as Italian Americans currently living and working in the United States today, contributed and continue to contribute monumentally to the nation's burgeoning film industry that persists in depicting them upon the silver screen..."

Tags:Italians, Stereotypes, movies, film, television

Abstract
This paper critiques the film "Just Like Heaven", including the acting, directing, writing and soundtrack. The paper points out that this film is a romantic comedy with a twist, which gives the film momentum and adds an element of mystery to the film. Adapted from a French novel, the film is entertaining, engaging, and memorable. The paper relates that the director of "Just Like Heaven" is Mark S. Waters, who also directed hits "Mean Girls" and "Freaky Friday". The paper concludes that " Just Like Heaven" might seem like a "sweet" film that ends happily; however, this romantic comedy blends elements of mystery, laughter and pathos to create a memorable film.

From the Paper
"However, it is the secondary cast that really holds this film together and makes it sing, even though the primary on-screen roles are Elizabeth and David. Abby, Elizabeth's sister is just the right blend of caring sibling, over-tasked mother, and skeptical caretaker to make the role her own. She is funny, moving, and loving in turn, and her role may be one of the most challenging in the film, because she is the one who must make the tough decision whether to give up on her sister or not. She is convincing in the role, and confesses in the Special Features that her "favorite" director is her husband."

Tags:actors, secondary cast, direction soundtrack writers

Abstract
This paper explains that film noir tends to bend time and to alter the normal chronology of a story as part of the thematic requirements suggesting connections between past and present and strengthening the idea of fate determining the course of events, as if those events were already set in time before they transpire. The post-modern approach to time infused much film making in the 1960s, making time a key element in the structure of the film. The author points out that Federico Fellini's film "81/2 "is autobiographical to a great degree, presented as a surreal meditation through the eyes of the film director, Guido, who dresses in the style of Fellini.

From the Paper
"In the next several sequence in the film, Guido interacts with his wife, his mistress, the writer of his film, the producer of the film, and a number of actors wanting to curry favor on the one hand and to get direction from Guido on the other. Guido's response in many of these encounters might be seen as distracted, and indeed he is considering his options, regretting the responsibility placed upon him by all of these people, and reconsidering his relationships one at a time."

Tags:time director surreal women, rocket launch

Abstract
This paper explores the relationship between film and memory; specifically the method in which Chris Marker has attempted to replicate the initiation, control and retrieval of memory. The process of filmmaking, the structure of Marker's film, the elements within his film (such as the role of the woman) and the narrative all contribute to convey a sense of the human subconscious and the themes of memory, time and vision.

From the Paper
"Through the cinematic style of a photo-roman, Marker explores the relationship and synthesis between memory, time and vision. Film and memory are compatible in style and structure. They both have the ability to reconstruct (or reinvent) reality and to defy the restrictions of space and time. Chris Marker's La Jetee is a cinematic exploration of the constructs of memory, space and time, and the equivocal structure of the film is resonant of the structure of memory. La Jetee examines the initiation, control and retrieval of memories through its central male protagonist, soundtrack, mise-en-scene, narrative, and filming techniques."

Tags:memory, dream, photograph

Abstract
In this paper, the theme of neo-realism is analyzed to define the nature of post-war film-making after the Second World War. The writer discusses that for directors like Rossellini and Visconti, the environments and persons involved in their films had to reflect the sense of devastation and destruction that war had brought to their country. The writer maintains that the use of non-professional actors provided a link with the working class feel of their films, as well as how they provided a distinct sense of destruction and chaos in the sets and urban environments they projected.

Tags:film, realism

Abstract
This paper compares and contrasts classical Hollywood films with Italian art cinema. It explores the characteristics and elements of each. The paper provides examples from "Casablanca," "The Bicycle Thief," "A Fistful of Dollars" and "Last Tango in Paris." The author discusses the Hollywood star system and principles of Neo-Realism.

Tags:Hollywood, Films, Cinema, Narrative, Neo-Realism, Leone, Eastwood, Bogart, Westerns, Italian

Abstract
The evolution of Italian cinema, from the neorealism of the 1940s and early 1950s to the more personal realism of the late 1950s and early 1960s, was defined by complex forces at work in Italian cultural, political and economic life at the time.

Tags:evolution, italian, cinema

Abstract
This paper looks at the Jewish American and Italian American experience, using Milton Gordon's text, Assimilation in American Life (1964), to evaluate the experiences of both groups.

Tags:jewish, italian, experirences