Ritratto di un'autrice: il cinema di Gabriella Rosaleva

Ritratto di un’autrice. Il cinema di Gabriella Rosaleva [Portrait of a female auteur. The cinema of Gabriella Rosaleva] This dissertation is an expression of my interest for the role of women in film and media, which I have started to develop when I was working on my MA thesis. As is well known, the work of women is often underestimated in - and sometimes even completely erased from - the history of cinema. More specifically, I have decided to focus on Gabriella Rosaleva, an Italian filmmaker who has worked in film and television mainly during the 1980s and the 1990s. After an introductory chapter, I have focused on the reconstruction of Rosaleva’s biography and, subsequently, on the social and cultural context on which she has worked. In the central part of my dissertation I have extensively analysed her films. Starting from the description of the materials I have gathered during my research, I have examined the structural (narrative and stylistic) elements of Rosaleva’s cinema, outlining the recurrent motives and the most original and “personal” traits of her production - which I have further investigated in the conclusive chapter. Besides her cinematic oeuvre, I have also analysed in-depth a series of different texts, including her novel and a number of subjects, screenplays, and treatments for films that never got made. The second volume of the thesis presents an ample iconographic appendix and gathers a selection of her cinematic writings, which have been preserved from the decay of time through digitization

Between Tolstoj and Rosaleva. Different notes for the same Sonata

The purpose of this article is to analyse the television film La sonata a Kreutzer, directed by Gabriella Rosaleva in 1985, and compare it to both the adapted source novella The Kreutzer Sonata (Tolstoy 1989), and with Tolstoy’s and his wife Sofja Tolstaya’s personal diaries.Rosaleva, an experimental author in the Eighties and Nineties, came to work on La sonata a Kreutzer due to the thematic correlation the novella had to her previous work. The novella’s exploration of music, feelings, and death were already widely addressed in Rosaleva's existing filmography, in particular her first short films shot on Super 8. La sonata a Kreutzer was written by Rosaleva and Paola di Monreale with the primary purpose to remain as faithful as possible to Tolstoy’s novella. The article will offer a comparative analysis of some of the key sequences in the film and novella, to emphasise their similarities and differences.The comparison, however, does not only look to measure the fidelity of the film itself, but instead will look to examine Rosaleva’s own work as a director. Specifically, how she works within the strictures of adapting a classic text such as The Kreutzer Sonata

Pioniere del video

Una ricognizione sulle pioniere del video in Italia (anche con riferimenti al panorama internazionale) nel campo della ricerca, dell'organizzazione e della promozione delle arti elettronich