Articoli di Caroline Travalia

30 Oct

Verdone’s construction of humor in the three protagonists of Bianco, Rosso e Verdone, di Caroline Travalia


In the early 1980’s Carlo Verdone picks up where Commedia all’Italiana directors like Monicelli and Risi left off, continuing the tradition of satirizing the struggles faced by Italians and the vices they share that turn them into their own worst enemies. Verdone departs from his predecessors by focusing more on the characters, who become larger-than-life exaggerations of themselves, with the storyline dropping to the background. In his first films he pays homage to his spiritual father, Alberto Sordi, through his Roman characters whose language and idiosyncrasies are the basis of the films’ absurd, self-deprecating humor. This paper focuses on Verdone’s second film, Bianco, Rosso e Verdone (1981), analyzing the reasons why the three characters interpreted by Verdone are ...continua a leggere


28 Dec

Comizi d’amore: Ignorance, Intolerance and Conformism among the Bourgeoisie Compared to the Subproletariat, di Caroline Travalia


I. Introduction
Of Pasolini’s more than twenty contributions to Italian cinema, including full-length features, documentaries and episodes in collective works, his 1964 production
Comizi d’amore (‘Love Meetings’) is not among the most well-known. The ninety-eight minute film inchiesta, whose working title was Cento paia di buoi (‘A hundred pairs of oxen’), offers an invaluable glimpse into the attitudes held by Italians towards sex, still considered a taboo during the economic boom of the 1960s.
Over the years, most authors have celebrated Pasolini’s subtle yet insistent approach as interviewer in Comizi, as ...continua a leggere