By Alex Marlow-Mann
Vito and the Others (1991), loss of life of a Neapolitan Mathematician (1992) and Libera (1993), the debuts of 3 younger Neapolitan filmmakers, stood out dramatically from the panorama of Italian cinema within the early Nineties. at the again in their severe good fortune, over the following decade and a part, Naples turned a thriving centre for movie production.In this primary research in English of 1 of the main important and stimulating currents in modern eu Cinema, Alex Marlow-Mann presents a close, multi-faceted and provocative examine of this certain neighborhood culture. In tracing the movement's courting with the preferred musical melodramas formerly produced in Naples, he unearths how modern Neapolitan filmmakers have interrogated, subverted and reconfigured cinematic conference as a part of a through-going second look of Neapolitan identification.
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Extra info for The New Neapolitan Cinema
It has therefore been able to offer more direct financial and logistical support to film production in Campania than its predecessor. While the restructuring of the Ministry of Tourism and the Performing Arts and the creation of film commissions undoubtedly had an impact on the resurgence of regional cinema in the 1990s, in order to understand fully the characteristics of the NNC we need to take a broader view of both the film industry and government legislation, and the changes these have undergone since Neapolitan cinema’s last heyday in the post-war period.
20 There is also a discrepancy in terms of the frequency with which people attend the cinema; only 10% of regular cinema-goers are located in the South, compared to 39% in the centre and 35% in the North. Conversely, 48% of occasional cinema-goers are based in the South (Repetto and Tagliabue 2000: 18). As far as individual cities are concerned, Rome tops the chart with 13% of the market and 138 screens, followed by Milan with 8% and 60 screens. 21 In short, the South contains fewer cinemas and less assiduous cinema-goers, and contributes a smaller percentage of the national box office.
Distributors’ targeting of a specific Southern market in the 1950s no longer seems to be a viable strategy within the context of the modern film industry. Indeed, Artimagiche/Thule Film’s production, Ossidiana, screened in numerous Italian cities following its release in November 2008, but surprisingly not in Naples until December of the following year. Between the mid-1970s and the late 1990s the number of cinema screens in Italy declined from over 8000 to 2400 (Repetto and Tagliabue 2000: 52).