![\"Italian](\"http:\/\/www.montclair.edu\/inserra-chair\/wp-content\/uploads\/sites\/71\/2017\/12\/collage-cinema-OK-300x214.jpg\")
\nMonday, October 16, 2017 – 6:30-8:30pm\u200c
\nLecture Hall 101, Feliciano School of Business
\n<\/strong><\/p>\n
See media coverage for this event<\/a> This is the third part of the “Critical Made in Italy<\/a>” series, designed by the Inserra Chair in Italian and Italian American Studies in 2016 and inspired by a collection of essays edited by\u00a0Daniele Balicco\u00a0–\u00a0Made in Italy and Culture.<\/em><\/p>\n This episode looks at what can be considered the quintessential Made in Italy product: the Italian language. The specific lens adopted is cinema given the fundamental role it plays in the diffusion of the Italian language abroad, or rather the Italian languages since Italian cinema agilely records regional dialects, foreign language interferences, as well as parlances used in specific job sectors or social circles. Most interestingly, the Italian language circulates on international screens through the voices of Italian actors thanks to the practice of subtitling, which ensures that dialogues are conveyed in their original forms in terms of pronunciation and inflection while being enriched by the body language of the actors. A non-Italian-speaking audience is thus exposed to the complexity of the Italian linguistic palette through a medium that in mirroring the country’s contemporary reality literally functions as a “sounding board” for the Italian language in ways that are more incisive than, for instance, opera whose Italian is less linked to today’s Italian, or theater which can be brought to foreign audiences much less frequently.<\/p>\n The choice of cinema for this event is linked to the theme of the 2017 Week of the Italian Language: \u201cItalian at the cinema, Italian in the cinema.\u201d The event is officially presented in connection to this initiative, which takes place every October worldwide as part of the Italian government\u2019s efforts in the promotion of the Italian language via the Ministry of Foreign Affairs and International Cooperation.<\/p>\n Program<\/strong><\/p>\n Giuseppe Antonelli: “The Italian Language(s) of Cinema” Jerome Rudes: “Subtitling Italian Cinema Gems for American Audiences”<\/strong> For events on similar topics, click\u00a0here<\/a><\/p>\n Resources<\/strong>:<\/p>\n Event’s announcement<\/a>\u00a0on the Portale della lingua italiana website What Italian Language(s) Does Italian Film Speak? Monday, October 16, 2017 – 6:30-8:30pm\u200c Lecture Hall 101, Feliciano School of Business See media coverage for this event See\u00a0flyer This is the third part of the “Critical Made in Italy” series, designed by the Inserra Chair in Italian and Italian American Studies in 2016 and inspired by […]<\/p>\n","protected":false},"author":20,"featured_media":558,"parent":207549,"menu_order":3,"comment_status":"closed","ping_status":"closed","template":"","meta":{"inline_featured_image":false,"footnotes":""},"class_list":["post-273","page","type-page","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/www.montclair.edu\/inserra-chair\/wp-json\/wp\/v2\/pages\/273","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.montclair.edu\/inserra-chair\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.montclair.edu\/inserra-chair\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.montclair.edu\/inserra-chair\/wp-json\/wp\/v2\/users\/20"}],"replies":[{"embeddable":true,"href":"https:\/\/www.montclair.edu\/inserra-chair\/wp-json\/wp\/v2\/comments?post=273"}],"version-history":[{"count":8,"href":"https:\/\/www.montclair.edu\/inserra-chair\/wp-json\/wp\/v2\/pages\/273\/revisions"}],"predecessor-version":[{"id":212830,"href":"https:\/\/www.montclair.edu\/inserra-chair\/wp-json\/wp\/v2\/pages\/273\/revisions\/212830"}],"up":[{"embeddable":true,"href":"https:\/\/www.montclair.edu\/inserra-chair\/wp-json\/wp\/v2\/pages\/207549"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.montclair.edu\/inserra-chair\/wp-json\/wp\/v2\/media\/558"}],"wp:attachment":[{"href":"https:\/\/www.montclair.edu\/inserra-chair\/wp-json\/wp\/v2\/media?parent=273"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nSee\u00a0flyer<\/a>
\n<\/strong><\/p>\n\n
\nGiuseppe Antonelli<\/strong>\u00a0(Professor of Linguistics, University of Cassino, Italy): “The Italians of Cinema” (in Italian with PP in English and consecutive translation into English)
\nJerome Rudes<\/a>\u00a0(Subtitling Specialist, Mistral Artist Management, NY): “Subtitling Italian Cinema Gems for American Audiences”<\/li>\n
\n<\/strong>There are different ways in which the Italian language is used in movies, and world-renowned films like\u00a0The Great Beauty\u00a0<\/em>by Paolo Sorrentino,\u00a0Gomorrah\u00a0<\/em>by Matteo Garrone and\u00a0Habemus papam\u00a0<\/em>by Nanni Moretti are perfect examples of this variety. Three different shades of the language for three different worlds: the one of power and success used in the capital, Rome; the mob-related one of Naples and the one that belongs to the Vatican and religion, which is almost an independent language. The same distinction applies to the three different traditions of the use of Italian language in movies: the one of aphorisms and sound bites, the one that is closer to local dialects, and the more refined and reflexive one. Using these movies as examples, the first half of the presentation will provide a quick linguistic map of today\u2019s Italian cinema. The second part of the presentation will be dedicated to specific scenes from other films in which language becomes the protagonist in terms of vocabulary and grammar. The selection includes excerpts from Moretti’s\u00a0Palombella rossa<\/em>, neorealist films like\u00a0Umberto D.,<\/em>\u00a0comedies Italian style like\u00a0We All Loved Each Other So Much<\/em>, and the classic jokes by Tot\u00f2 and Fantozzi, among others. This all goes to show that, as stated by the protagonist of Leonardo Sciascia’s book\u00a0A Simple Story<\/em>, \u201cThe Italian language is not the Italian language: it is the act of reasoning in itself.\u201d<\/p>\n![\"Giuseppe](\"http:\/\/www.montclair.edu\/inserra-chair\/wp-content\/uploads\/sites\/71\/2019\/09\/Critical-Cinema-Poster.jpg\")
\n<\/a>Giuseppe Antonelli<\/strong><\/a>\u00a0teaches Italian Linguistics at the University of Cassino, Italy. He writes for a number of newspapers and websites such as\u00a0Corriere della Sera<\/em>\u00a0and Treccani.it (on their portal dedicated to Italian language). He was the anchorman of a radio show called \u201cLa Lingua Batte\u201d on Radio Tre and since 2015 he has been telling the story of Italian words during the RAI 3 TV show \u201cIl Kilimangiaro.\u201d In 2003 his novel\u00a0Trenit\u00e0<\/em>\u00a0(Pequod) was nominated for the Premio Strega. Among his most recent works:\u00a0Comunque anche Leopardi diceva le parolacce. L\u2019italiano come non ve l\u2019hanno mai raccontato<\/em>\u00a0(Mondadori, 2014);\u00a0Storia dell\u2019italiano scritto<\/em>\u00a0co-written with Matteo Motolese e Lorenzo Tomasin (Carocci, 2014); the Italian grammar\u00a0L\u2019italiano, gli italiani\u00a0<\/em>(Einaudi Scuola, 2016) co-written with Emiliano Picchiorri; and the essay\u00a0Un italiano vero. La lingua in cui viviamo<\/em>\u00a0(Rizzoli 2016).<\/p>\n
\nThis presentation will illustrate some of the challenges and pleasures of rendering Italian cinema understandable for a new generation of English-speaking audiences with high-caliber subtitling, utilizing clips from two classics –\u00a0Il boom<\/em>\u00a0by Vittorio De Sica (1963) and\u00a0Matrimonio all\u2019italiana<\/em>\u00a0(Marriage Italian Style<\/em>) by Vittorio De Sica (1964) – and two contemporary Italian films –\u00a0Terraferma<\/em>\u00a0by Emanuele Crialese (2011) and\u00a0Mid-August Lunch<\/em>\u00a0by Gianni Di Gregorio (2008).<\/em><\/p>\n
\n<\/a>A dual citizen of the United States and France,\u00a0Jerome Henry Rudes<\/strong><\/a>\u00a0lives between New York City and Provence. Rudes is the 2014 winner of “La M\u00e9daille d’Or du Rayonnement Culturel” for the United States for his work in subtitling as well as his cross-cultural film curating after 25 years as President of the Avignon Film Festival. From 2002 to 2014, Rudes served as US Coordinator for LVT-USA, one of the world leaders in 35mm film and digital subtitling. In that capacity, Rudes supervised the subtitling of over 200 feature films and shorts, including scores of official selections for the Cannes, Berlin, Venice, Sundance, Locarno, Tribeca and Toronto Film Festivals. Rudes\u2019 work has encompassed new titles as well as restorations. As of March 1, 2014, Rudes\u2019 own company,\u00a0Mistral Artist Management<\/a>, took over all subtitling and captioning activity from LVT-USA. Currently, Rudes is working with UCLA Film Archive as well as with The Film Foundation.<\/p>\n\n
<\/p>\n
\nVideo XVII Settimana Lingua italiana (short version)
\n<\/a>Video XVII Settimana Lingua italiana (full version)<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"