Beteiligte: | |
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In: | New Cinemas: Journal of Contemporary Film, 3, 2005, 1, S. 41-54 |
veröffentlicht: |
Intellect
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Medientyp: | Artikel, E-Artikel |
Umfang: | 41-54 |
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ISSN: |
1474-2756
2040-0578 |
DOI: | 10.1386/ncin.3.1.41/1 |
veröffentlicht in: | New Cinemas: Journal of Contemporary Film |
Sprache: | Englisch |
Schlagwörter: | |
Kollektion: | Intellect (CrossRef) |
<jats:p>The ‘codes’ to which the title of this article refers are the narrative and visual codes of a particular genre model, the Mafia film. The article traces the tradition of Mafia film-making with the purpose of establishing how it gives meaning to Marco Tullio Giordana’s film <jats:italic>I cento passi</jats:italic>, which is shown to be one of a crop of contemporary Italian films that addresses the Mafia question from a new perspective - through humour (Roberto Benigni, Robert Torre) or through emphasis on a little-known protagonist (Scimeca, Giordana). Giordana’s film is shown to renegotiate, through intertextual citation, the cinematic codes of Hollywood (Coppola’s <jats:italic>The Godfather</jats:italic>) and of the European tradition (the films of Francesco Rosi). The article concludes by demonstrating that the impetus behind the current films is found in the climate of anti-Mafia opinion that predominated in Sicily, following the Mafia murders of judges Giovanni Falcone and Paolo Borsellino in 1992.</jats:p> |