| 1. |
- Audissino, Emilio, 1981-
(författare)
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A Matter of Form, Style, and Monsters : A Comparative Analysis of Reazione a catena and Friday the 13th
- 2020
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Ingår i: L'avventura. International Journal of Italian Cinema and Media Landscapes. - Bologna : Societa Editrice Il Mulino. - 2421-6496. ; 6:1, s. 3-22
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Tidskriftsartikel (refereegranskat)abstract
- The Italian filmmaker Mario Bava was an influential master of genre films. Perhaps his most seminal contribution was to the American slasher films of the 1980s, in particular the Friday the 13th series, which paid overt homage to Mario Bava’s Reazione a catena (1971). While the similarities and borrowings have already been discussed elsewhere, this article examines the differences, through a comparative formal and stylistic analysis, between Friday the 13th (S.S. Cunningham, 1980) and Reazione a catena. It focuses specifically on the impalement scene in Friday the 13th Part 2 (S. Miner, 1981), which was borrowed almost verbatim from Bava’s film, but which makes substantial and meaningful changes.
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| 2. |
- Audissino, Emilio, Senior Lecturer, 1981-
(författare)
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Bringing The Nanny to the Italian Audience : Dubbing as Adaptation and Assimilation
- 2017
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Ingår i: First conference of the Journal for Italian Cinema and Media Studies, American University of Rome, Italy, 9-10 June 2017.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- As widely known in Translation Studies, no translation comes without adaptation: translating means converting a source-language text into a target-language text bearing in mind that the cultural context of the target language is likely to be different. Adaptation is typically at work with those puns, proverbs or idiomatic expressions that are not translatable verbatim and thus require some semantic adaptation that should convey the same meaning under a different form – e.g. the meaning of the English “Touch wood!” is rendered in Italian by “Tocca ferro! [Touch iron]”Dubbing is a popular method of audio-visual translation – or better, of audio-visual adaptation – and the preferred one in such non-English-speaking countries as France, Germany and Italy. The major problem with dubbing is that, unlike subtitling, it replaces part of the film: the dialogue track. An audio-visual product can thus undergo radical and even utterly arbitrary adaptation operations without the audience in the target country noticing it, given the unavailability of the original dialogue track for comparison. Dubbing, more than subtitling, often imposes on the audio-visual product a more or less marked process of socio-cultural “assimilation” – in its original meaning of “making similar.” Through significant changes in the dialogue, the audio-visual work is adapted to make it more relatable to the target audience. In some cases, this assimilation leads to a radical modification of the original socio-cultural context of the work, an extreme “assimilating” adaptation that is often unnecessary semantically – a more faithful translation of the dialogue could have been perfectly understandable even without such drastic changes. In these cases the rationale is market-oriented: the audience may enjoy the audio-visual work better if they recognise in the story familiar elements and a world that is “similar” to theirs.The case study presented is the Italian version of the American TV series The Nanny (1993-1999) in which the Jewish characters were turned into Italian characters. This created incongruous formal consequences – e.g. mismatches between the new dialogue track and the original visual track – but assured a wide success on the Italian television.
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| 3. |
- Audissino, Emilio, Senior Lecturer, 1981-
(författare)
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Émigrés and Hollywood Film Music : The Cases of Max Steiner's Casablanca and Erich Wolfgang Korngold's The Adventures of Robin Hood
- 2011
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Come gli Stati Uniti d'America sono da sempre la meta di migranti e rifugiati da tutto il mondo, così Hollywood è da sempre un ambito traguardo per tutti coloro che lavorano nel cinema. Negli anni '30 Hollywood ha anche dato asilo a numerosi artisti che avevano lasciato l'Europa non per cercare lavoro, ma per fuggire alle persecuzioni razziali e politiche dei regimi nazi-fascisti. In particolare, i musicisti europei hanno avuto un'influenza enorme sulla musica per film hollywoodiana, tanto che due di loro possono esserne considerati i padri: Max Steiner e Erich Wolfgang Korngold. Analizzando le scelte musicali di Casablanca e The Adventures of Robin Hood – rispettivamente di Steiner e di Korngold – vedremo come questi compositori-profughi hanno saputo infondere in quei film importanti allusioni politiche sulla contemporaneità, esprimere la gratitudine per il rifugio che Hollywood ha loro offerto ed evocare nostalgicamente la patria lontana e perduta.
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| 4. |
- Audissino, Emilio, Senior Lecturer, 1981-
(författare)
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Episodes and Real Rob : Celebrities at Their Worst.
- 2018
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Ingår i: 4th International Celebrity Studies Conference ‘Desecrating Celebrities’, Università La Sapienza, Rome, Italy, 27-29 June 2018.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- The paper examines two TV series based on self-desecration. In Episodes (2011–2017, five seasons) Matt LeBlanc plays a version of himself reminiscent of Friends’s Joey Tribbiani. The fictional LeBlanc is as dense and, in his acting profession, as inept as Joey was. Unlike Joey, fictional LeBlanc is (undeservedly?) successful and wealthy and, quite unlike Joey, he is not amiable but selfish, on the verge of being a sexual predator, prima donna-like capricious and vain, and totally unreliable. The series tracks the vicissitudes of two British screenwriters trying to adapt their critically-acclaimed BBC show into a product for the American market, suffering much damage to their artistic integrity, most of which caused by LeBlanc, imposed as the series’ star by the Head of the network. In Real Rob (2015–ongoing, two seasons) Rob Schneider – famous for his raunchy roles in such comedies as Deuce Bigalow: Male Gigolo (1999) – teams up with his real-life wife Patricia to produce a series in-between the reality and the sit-com. The show follows the daily life of the Schneider family – including the three-year-old daughter Miranda. Rob is depicted as pathologically egotistical, at times a squander at times a close-fisted, gasping for a relaunch of his waning career, envious of his wife’s increasing success, and cruelly bossy to his slave-like personal assistant.Both fictional LeBlanc and fictional Schneider mix traits from both their public and screen personae but deliberately and mercilessly push the tone towards the negative extremes – LeBlanc ends up in bed with his barely legal-age female stalker; Schneider forces his personal assistant to get a vasectomy in his stance. They come to embody the worst stereotypes associated with celebrities. In Episodes and Real Rob LeBlanc and Schneider have opted for a renewed visibility built on desecration. In the complex dynamics of stardom and fandom, fans have loved ‘heroes’ as well as ‘villains’; they have been mesmerised by grand gestures as well as by sordid scandals. What Episodes and Real Rob seems to point to is the fact that, no matter how desecrated, celebrities will still be followed and admired precisely because they are celebrities.
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| 5. |
- Audissino, Emilio, Senior Lecturer, 1981-
(författare)
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Hollywood Film Music and Ethnic Diversity
- 2013
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Ingår i: Multicultural America. - Thousand Oaks : Sage Publications. - 9781452216836 - 9781452276274 ; , s. 1101-1103
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- Throughout its history, Hollywood film music has had a number of influences from various ethnic groups. It moved from the abstract musical universalism of the classical period to the cosmopolitan eclecticism of the present day. This encyclopedia entry surveys how film music has representated and portrayed ethnicity throughout its history.
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| 6. |
- Audissino, Emilio, Senior Lecturer, 1981-
(författare)
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Italian Doppiaggio Dubbing in Italy : Some Notes and (In)famous examples
- 2012
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Ingår i: Italian Americana. - Newport, R.I. : University of Rhode Island. - 0096-8846. ; 30:1, s. 22-32
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Tidskriftsartikel (refereegranskat)abstract
- A survey of the history of film dubbing in Italy, and the aesthetic consequences that adaptation and media translation can cause to the original texts.
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| 7. |
- Audissino, Emilio, Senior Lecturer, 1981-
(författare)
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It’s “Shirley” Something to Remember : Airplane! 40 Years Later
- 2020
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Ingår i: JewThink. - : JewThink.
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Tidskriftsartikel (populärvet., debatt m.m.)abstract
- A celebration of the 40th aniversary of the comedy Airplane! by the Zucker-Abrahams-Zucker trio, discussing its innovative traits and the influence of the trio's Jewish heritage.
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| 8. |
- Audissino, Emilio, Senior Lecturer, 1981-
(författare)
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Motion Pictures
- 2013
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Ingår i: Multicultural America. - Thousand Oaks : Sage Publications. - 9781452216836 - 9781452276274 ; , s. 1492-1496
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- Actors, directors, producers, and other people from diverse heritages have contributed to America's film industry. Hollywood films have always been a sort of a mirror of the United States— although often a controversial and simplified one. This encyclopedia entry surveys how motion pictures in the US have contributed to the consolidation of the melting pot American society but also to the dissemination and strengthening of racial and ethnic prejudices.
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| 9. |
- Audissino, Emilio, Senior Lecturer, 1981-, et al.
(författare)
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Prologue : A Reel Jazz Survey
- 2019
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Ingår i: <em>C</em><em>inema Changes</em>. - Turnhout : Brepols. - 9782503584478 ; , s. ix-xxvi
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- The present volume seeks to tackle jazz as to its interaction with the film from three vantage points: the formulation of alternative theoretical approaches, the close examination of exemplary case studies, and the survey of the use of jazz in different national cinemas. The latter, in particular, is one of the central concerns, that is to examine how jazz is used outside Hollywood. Because of both Hollywood’s long-time pre-eminent position on the world market and for the fact that jazz and Hollywood hail from the same country, the relationship of jazz with Hollywood cinema has often occupied a preponderant share in the literature. Yet, for these same reasons of exposure and co-nationality, an account of non-Hollywood cinemas should nevertheless have Hollywood as a reference point. Hollywood cinema has been since the late silent era the stylistic and narrative model for any other cinema, a reference point either to be imitated and conformed to, or to be challenged and subverted. Therefore it seems appropriate to open this volume with a brief introduction to jazz and Hollywood.In order to delineate how Hollywood has been using jazz as a cinematic device – that is, how this type of music was used in films as a stylistic, narrative, and thematic element in conjunction and cooperation with all the other devices (dialogue, camerawork, editing, set design, acting…) – it is useful to isolate a handful of recurrent ‘representational categories’. These offer a concise and sample-based survey of how the presentation of jazz (in its many incarnations) has changed in Hollywood cinema through the years, what connotations have been attached to this type of music, and how jazz and its practitioners have been depicted.
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| 10. |
- Audissino, Emilio, 1981-
(författare)
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The Final Girls (2015) as a Video Essay : A Metalinguistic Play with Genre and Gender Conventions
- 2019
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Ingår i: <em>Gender and Contemporary Horror in Film</em>. - Bingley : Emerald Group Publishing Limited. - 9781787698987 ; , s. 219-235
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- The Final Girls (Todd Strauss-Schulson, 2015) is the story of a group of teen-age friends that, during the screening of a Friday the 13th-like 1980s slasher horror, happen to be sucked into the film. Trapped in the gruesome narrative, they have to survive the deranged killer that haunts the premises of the campsite by applying their knowledge of the rules and cliches of the slasher genre. The film is of interest not only because it mixes horror and comedy and exaggerates the horror genre's conventions – as Scream and other neo-slashers already did. By employing the device of the screen rupture, the film constructs a complex network of self-reflexive moments and intertextual references. The metalinguistic play involves in particular the notoriously sexophobic and gender-led dynamics of the 1980s slashers – those more emancipated girls who have sex are killed, the most prudish girl is the one that eventually manages to defeat the monster, the “Final Girl.” In this sense, the film is almost like a video essay that reprises and illustrates one of the most seminal study of the slasher genre, Carol Clover's 1992 Men, Women, and Chain Saws: Gender in the Modern Horror Film. The chapter presents the defining elements of the slasher subgenre as theorised by Clover and then focusses on the analysis of the metalinguistic elements of The Final Girls vis-a-vis Clover's classic text.
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