Italy's landscapes of loss: historical mourning and the dialectical image in Cinema Paradiso, Mediterraneo and Il Postino

Gazing without risks. How to experience Italy, in the tourism industry interpretation of the film The Great Beauty

“…All of these films are historical narratives set during or immediately after World War II and they seem to share a common will to display Italian and Mediterranean beauty, identified in a mix of attractive natural landscapes and female bodies. 23 For these reasons, they are suspected to have "been designed for a foreign tourist gaze and therefore to commodify the country's appeal as a kind of 'Brand Italy' for the Anglophone market," also in relation to their distribution by Miramax in the United States. 24 In recent times, Galt and Karl Schoonover have conveniently labelled the Ivory screen-written transnational production Call me by your name (Luca Guadagnino, 2018) a heritage film: it is set in the 1980s, generously displaying Italian natural and cultural heritage.…”

The Lyrical Subversions of Socialist Realism in Đặng Nhật Minh’s New Wave Cinema

“…Rejecting the role of a filmic landscape as simply aesthetically pleasing and separate from the narrative, she argues for an ideological complexity of the spectacle where images are not just heritage shots or static moments of spectacular freezing. 31 The use of filmic landscape enables Minh to cut through the major issues of space, time, and identity to retrieve the film's central trope of mourning from its political misappropriation. His landscape images become the depositories of a natural authentic way of life untainted by ideology.…”