Cainà: Islandscape and ‘islanderscope’ on screen

The establishment of Island Studies within the academe and the introduction of concepts such as ‘islandness’ and ‘islandscape’ have accompanied a general rethinking of the concept of insularity which encompasses the reflection over a cinematic representation of islands and islanders. The use of islands as cinematic landscapes and settings has reinforced cultural, mythical, and identity stereotypes associated with the island imagery built-up in literature, as well as the construction of the islander as a character exhibiting specific behavioural features. The film Cainà. L’isola e il continente (Gennaro Righelli, 1922) is emblematic insofar as it is the first feature film shot in Sardinia and its character is not just a symbol of feminine rebellion against a patriarchal society, but it also serves as an allegory of an unspoiled island, such as it was considered and depicted at that time. As islanders ourselves, we have wondered to what extent Cainà adheres to the stereotypes of islandness and insularity conventionally ascribed to islands and, in this specific case, to Sardinia. Our paper aims to examine the genesis of the Sardinian insular imagination through the lens of the cinematic construction of ‘islanderness’ and ‘islanderscope’, an assortment of agency representing islanders — and islands — on screen

Gli arcipelaghi e Il Figlio di Bakunìn: l'io narrante tra letteratura e cinema

The aim of this paper is to analyze the structure of two well-known Sardinian novels, Sergio Atzeni's Il figlio di Bakunin, and Gli arcipelaghi by Maria Giacobbe, both featuring a first-person narrative, and to demonstrate how narrative material is re-organized and re-distributed in the cinematic transpositions, directed respectively by Gianfranco Cabiddu (1997) and Giovanni Columbu (2001).Obiettivo del presente contributo è analizzare la struttura di due noti romanzi sardi, Il figlio di Bakunìn di Sergio Atzeni e Gli arcipelaghi di Maria Giacobbe, caratterizzati da una narrazione in prima persona, e dimostrare come il materiale narrativo è riorganizzato e riplasmato nelle trasposizioni cinematografiche, dirette rispettivamente da Gianfranco Cabiddu (1997) e da Giovanni Columbu (2001). La locuzione impiegata per riferirsi ai film è quella di traduzione intersemiotica, che riprende la terminologia del linguista Roman Jakobson. In questo modo, si vogliono mettere in evidenza l’intento dei registi di ricreare i fili narrativi dei romanzi e la volontà di riproporre, reintepretandoli, i punti di vista di ciascun personaggio. In un secondo momento, l’attenzione sarà rivolta alle scelte linguistiche adottate nei romanzi e nei film.

Istràngius

According to figures from the latest demographic statistics, there are more than 55.000 foreign citizens in Sardinia (3,4% of the total resident population), and this number is expected to grow over the next few years. As an island exposed to frequent social and commercial exchanges throughout its history, Sardinia represents a fertile scenario for multicultural and multiracial encounter, not to mention linguistic contamination and variety. On the one hand, Sardinian literature has extensively recounted the presence of istràngius (‘strangers, foreigners’) in the island over the past centuries. On the other hand, Sardinian cinema has recently discovered the high potential of the migratory phenomenon as a current issue to narrate on screen. This paper aims to reflect upon the presence and representation of foreign people in Sardinian film and audio-visual productions, through the analysis of documentaries, short and feature films which, since the early 2000s, have shown the arrival of immigrants in Sardinia, as well as the process of cultural integration in the island territory.According to figures from the latest demographic statistics, there are more than 55.000 foreign citizens in Sardinia (3,4% of the total resident population), and this number is expected to grow over the next few years. As an island exposed to frequent social and commercial exchanges throughout its history, Sardinia represents a fertile scenario for multicultural and multiracial encounter, not to mention linguistic contamination and variety. On the one hand, Sardinian literature has extensively recounted the presence of istràngius (‘strangers, foreigners’) in the island over the past centuries. On the other hand, Sardinian cinema has recently discovered the high potential of the migratory phenomenon as a current issue to narrate on screen. This paper aims to reflect upon the presence and representation of foreign people in Sardinian film and audio-visual productions, through the analysis of documentaries, short and feature films which, since the early 2000s, have shown the arrival of immigrants in Sardinia, as well as the process of cultural integration in the island territory

Cogas, janas e le altre: le creature mitiche e fantastiche nella letteratura e nel cinema sardi

Sardinian contemporary literature and films have recently recovered an extensive heritage of folk myths and legends taken from the oral tradition. Legendary figures, such as accabadoras (female figure who was enabled with the task of easing the sufferings of the dying people), and fantasy creatures, such as cogas, surbiles (‘vampire witches’), janas (‘fairies, pixies’), and panas (‘the ghosts of women who died in childbirth’) are being revived by writers and film directors with the purpose of bringing their memory back to life and share it with a wide audience of readers and spectators. The analysis of imaginary and legendary creatures in Sardinian contemporary literature cannot overlook orality and its central role in shaping popular imagination over the centuries. Writing has replaced orality, whilst mass media and digital media are getting the upper hand over storytelling as a practice of community and family aggregation, meant to mark the long working hours and scare the children, amongst the most common functions of Sardinian oral storytelling. The literary corpus includes fairy tales, novels, tales and legends dealing with the Sardinian oral tradition, whilst on the cinematic side I will examine short films, feature films and documentaries made in Sardinia over the last fifteen years

Fenomeni di generazione: narrazioni, problemi, metodologie

This issue addresses the concept of generation in the field of media

"Aging", sessualità e cinema nella cultura italiana del secondo dopoguerra

Special issue on "aging" and sexuality in the Italian culture

Characteristics and patterns of care of endometrial cancer before and during COVID-19 pandemic

Objective: Coronavirus disease 2019 (COVID-19) outbreak has correlated with the disruption of screening activities and diagnostic assessments. Endometrial cancer (EC) is one of the most common gynecological malignancies and it is often detected at an early stage, because it frequently produces symptoms. Here, we aim to investigate the impact of COVID-19 outbreak on patterns of presentation and treatment of EC patients. Methods: This is a retrospective study involving 54 centers in Italy. We evaluated patterns of presentation and treatment of EC patients before (period 1: March 1, 2019 to February 29, 2020) and during (period 2: April 1, 2020 to March 31, 2021) the COVID-19 outbreak. Results: Medical records of 5,164 EC patients have been retrieved: 2,718 and 2,446 women treated in period 1 and period 2, respectively. Surgery was the mainstay of treatment in both periods (p=0.356). Nodal assessment was omitted in 689 (27.3%) and 484 (21.2%) patients treated in period 1 and 2, respectively (p<0.001). While, the prevalence of patients undergoing sentinel node mapping (with or without backup lymphadenectomy) has increased during the COVID-19 pandemic (46.7% in period 1 vs. 52.8% in period 2; p<0.001). Overall, 1,280 (50.4%) and 1,021 (44.7%) patients had no adjuvant therapy in period 1 and 2, respectively (p<0.001). Adjuvant therapy use has increased during COVID-19 pandemic (p<0.001). Conclusion: Our data suggest that the COVID-19 pandemic had a significant impact on the characteristics and patterns of care of EC patients. These findings highlight the need to implement healthcare services during the pandemic

Practice patterns and 90-day treatment-related morbidity in early-stage cervical cancer

To evaluate the impact of the Laparoscopic Approach to Cervical Cancer (LACC) Trial on patterns of care and surgery-related morbidity in early-stage cervical cancer

La rappresentazione del mare nella recente produzione audiovisiva e cinematografica sulla Sardegna

Che ruolo ha il mare, laddove presente, nel cinema contemporaneo di ambientazione sarda? Nonostante il mare sia parte integrante della geografia e del paesaggio della Sardegna e abbia contribuito in maniera determinante allo sviluppo dell’isola, i cineasti sardi intrattengono con l’elemento marino un rapporto problematico e complesso. Nel presente contributo, ci si concentrerà sulla rappresentazione del paesaggio marino nella recente produzione cinematografica legata all’isola: film di finzione e documentari saranno indagati in relazione alla presenza del mare inteso non solo come spazio sociale, economico e culturale, ma soprattutto come luogo cinematografico

Feels like teen spirit. Essere adolescenti nel cinema del reale

Over the last twenty years, due to the increasing attention that Italian cinema has devoted to adolescence, teenagers have become key figures onscreen. Directors and filmmakers are mainly interested in narrating their daily routine, their interpersonal relations, as well as their troubled inner world. The authors belonging to the so-called cinema del reale (‘cinema of reality’) are also deeply involved in dealing with adolescence issues, by focusing on personal experiences and stories with remarkable sense of understanding. This paper aims to analyse the role and image of adolescents portrayed in the films of four Italian directors, with the objective to examine the narrative practices and the representation patterns underlying the contemporary cinema of reality