Streetwalking on a Ruined Map—Cultural Theory and the City Films of Elvira Notari
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Emphasizing the importance of cultural theory for film history, Giuliana
Bruno enriches our understanding of early Italian film as she guides
us on a series of "inferential walks" through Italian culture in the
first decades of this century. This innovative approach---the
interweaving of examples of cinema with architecture, art history,
medical discourse, photography, and literature--addresses the
challenge posed by feminism to film study while calling attention to
marginalized artists. An object of this critical remapping is Elvira
Notari (1875-1946), Italy's first and most prolific woman filmmaker,
whose documentary-style work on street life in Naples, a forerunner of
neorealism, was popularly acclaimed in Italy and the United States
until its suppression during the Fascist regime. Since only fragments
of Notari's films exist today, Bruno illuminates the filmmaker's
contributions to early Italian cinematography by evoking the cultural
terrain in which she operated. What emerges is an intertextual montage
of urban film culture highlighting a woman's view on love, violence,
poverty, desire, and death. This panorama ranges from the city's
exteriors to the body's interiors. Reclaiming an alternative history
of women's filmmaking and reception, Bruno draws a cultural history
that persuasively argues for a spatial, corporal interpretation of
film language.
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