Danielle Hipkins
Biographic Data
| ID | 3563716 |
|---|---|
| NAME | Danielle Hipkins |
| GIVEN NAMES | Danielle |
| FAMILY NAME | Hipkins |
| SIGNATURE | HIPKINS D |
| AFFILIATIONS | University of Exeter |
| ORCID | 0000-0001-8904-359X |
| VERIFIED | Yes |
| TOTAL WORKS | 14 |
| TOTAL CITATIONS | 1 |
| WORKS AS AUTHOR | 11 |
| WORKS AS EDITOR | 3 |
| FIRST PUBLICATION YEAR | 2005 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 1 |
A Girls’-Eye View
Over the last few years, production companies and streaming platforms in Italy have enriched their catalogues with films and TV series targeting adolescents, where the topoi of this age are addressed in order to build identification and engagement: conflict with parents, school, self-discovery in terms of identity and sexuality, body changes, friendship, love, rule breaking and so on. In the plethora of adolescent-themed films and TV series, the …
Italian Cinema Audiences
In 1988 Giuseppe Tornatore’s film Nuovo Cinema Paradiso (Cinema Paradiso, Italy) achieved global success with a story that placed Italian cinema audiences at the centre of its narrative. In it, spectators are portrayed attending cinemas, bonding with the stories they saw on the screen and interacting loudly with films such as Visconti’s neorealist classic La terra trema (The Earth Trembles, Italy, 1948), Raffaello Matarazzo’s enormously popular m…
La Mamma
Rural Cinema Exhibition and Audiences in a Global Context
Prostitution and Sex Work in Global Cinema
Performing ‘Girl’ Against Girlpower
Italy’s Other Women
Of postfeminist girls and fireflies
For Pasolini the extinction of the firefly symbolized the disappearance of any popular resistance into the homogeneity of consumer culture. However, Francesca Comencini revitalizes the symbolic potential of the firefly for Rome through an engagement with the Italian postfeminist girl in her 2012 film Un giorno speciale. Made in the wake of the Berlusconi scandals, the film mobilizes a familiar set of dichotomies to express nostalgia for the clari…
Figlie di papà
This article explores the function of the adolescent girl in contemporary Italian film comedy, particularly when the figure is juxtaposed with the adult generation. Concepts of ‘girlpower’ and female sexual agency jostle for attention with attempts to re-establish white male centrality, and sometimes challenge our assumptions about what that teen female agency might look, sound and act like, although it remains persistently middle-class and white…
New Visions of the Child in Italian Cinema
The figure of the child has long been a mainstay of Italian cinema, conventionally interpreted as a witness of adult shortcomings, a vessel of innocence, hope and renewal, or an avatar of nostalgia for the (cinematic) past. New Visions of the Child in Italian Cinema challenges these settled categories of interpretation and reconsiders the Italian canon as it relates to the child. The book draws on a growing body of new work in the history and the…
Who wants to be a TV showgirl? Auditions, talent and taste in contemporary popular Italian cinema
Contemporary discourse about the figure of the velina, or showgirl, in Italy rotates around, amongst other things, a misreading of (youthful) female spectatorship practices (O'Rawe), culture and ambitions, a profound confusion about how to read narrative film and television, and a fundamental resistance to 'popular' taste (O'Leary). I will examine how contemporary popular cinema in Italy has handled the figure of the velina through the recurrent …
Whore-ocracy
Women on Italian television are objectified more frequently than on other European television networks. However, a moral panic in contemporary Italian culture about the figure of the 'velina', or television showgirl, perceived as dangerously akin to the scapegoated prostitute, has become shorthand for debates about Silvio Berlusconi, his media empire and political corruption. In this article I will begin by showing how a preoccupation with female…
Why Italian Film Studies Needs A Second Take on Gender
This article addresses the apparent reluctance to engage with feminist film theory and gender studies in the mainstream of Italian film studies, particularly those originating within Italy. The roots of this neglect lie in a patriarchal critical tradition and a tendency for Italian feminism to function outside academia. The article contends that this situation has led to an impoverished understanding of Italian film history and potentially negati…
A space of his own
(2005). A space of his own?: The male artist, space, and the fantastic in Paola Capriolo's La spettatrice (1995) and Laura Mancinelli's La casa del tempo (1993) The Italianist: Vol. 25, No. 1, pp. 97-115
Of postfeminist girls and fireflies
For Pasolini the extinction of the firefly symbolized the disappearance of any popular resistance into the homogeneity of consumer culture. However, Francesca Comencini revitalizes the symbolic potential of the firefly for Rome through an engagement with the Italian postfeminist girl in her 2012 film Un giorno speciale. Made in the wake of the Berlusconi scandals, the film mobilizes a familiar set of dichotomies to express nostalgia for the clari…
A space of his own
(2005). A space of his own?: The male artist, space, and the fantastic in Paola Capriolo's La spettatrice (1995) and Laura Mancinelli's La casa del tempo (1993) The Italianist: Vol. 25, No. 1, pp. 97-115
Why Italian Film Studies Needs A Second Take on Gender
This article addresses the apparent reluctance to engage with feminist film theory and gender studies in the mainstream of Italian film studies, particularly those originating within Italy. The roots of this neglect lie in a patriarchal critical tradition and a tendency for Italian feminism to function outside academia. The article contends that this situation has led to an impoverished understanding of Italian film history and potentially negati…
Whore-ocracy
Women on Italian television are objectified more frequently than on other European television networks. However, a moral panic in contemporary Italian culture about the figure of the 'velina', or television showgirl, perceived as dangerously akin to the scapegoated prostitute, has become shorthand for debates about Silvio Berlusconi, his media empire and political corruption. In this article I will begin by showing how a preoccupation with female…
Who wants to be a TV showgirl? Auditions, talent and taste in contemporary popular Italian cinema
Contemporary discourse about the figure of the velina, or showgirl, in Italy rotates around, amongst other things, a misreading of (youthful) female spectatorship practices (O'Rawe), culture and ambitions, a profound confusion about how to read narrative film and television, and a fundamental resistance to 'popular' taste (O'Leary). I will examine how contemporary popular cinema in Italy has handled the figure of the velina through the recurrent …
New Visions of the Child in Italian Cinema
The figure of the child has long been a mainstay of Italian cinema, conventionally interpreted as a witness of adult shortcomings, a vessel of innocence, hope and renewal, or an avatar of nostalgia for the (cinematic) past. New Visions of the Child in Italian Cinema challenges these settled categories of interpretation and reconsiders the Italian canon as it relates to the child. The book draws on a growing body of new work in the history and the…
Figlie di papà
This article explores the function of the adolescent girl in contemporary Italian film comedy, particularly when the figure is juxtaposed with the adult generation. Concepts of ‘girlpower’ and female sexual agency jostle for attention with attempts to re-establish white male centrality, and sometimes challenge our assumptions about what that teen female agency might look, sound and act like, although it remains persistently middle-class and white…
Italy’s Other Women
Of postfeminist girls and fireflies
For Pasolini the extinction of the firefly symbolized the disappearance of any popular resistance into the homogeneity of consumer culture. However, Francesca Comencini revitalizes the symbolic potential of the firefly for Rome through an engagement with the Italian postfeminist girl in her 2012 film Un giorno speciale. Made in the wake of the Berlusconi scandals, the film mobilizes a familiar set of dichotomies to express nostalgia for the clari…
Prostitution and Sex Work in Global Cinema
Performing ‘Girl’ Against Girlpower
Rural Cinema Exhibition and Audiences in a Global Context
Italian Cinema Audiences
In 1988 Giuseppe Tornatore’s film Nuovo Cinema Paradiso (Cinema Paradiso, Italy) achieved global success with a story that placed Italian cinema audiences at the centre of its narrative. In it, spectators are portrayed attending cinemas, bonding with the stories they saw on the screen and interacting loudly with films such as Visconti’s neorealist classic La terra trema (The Earth Trembles, Italy, 1948), Raffaello Matarazzo’s enormously popular m…
La Mamma
A Girls’-Eye View
Over the last few years, production companies and streaming platforms in Italy have enriched their catalogues with films and TV series targeting adolescents, where the topoi of this age are addressed in order to build identification and engagement: conflict with parents, school, self-discovery in terms of identity and sexuality, body changes, friendship, love, rule breaking and so on. In the plethora of adolescent-themed films and TV series, the …
Art (10 works) · Italian Fascism and Post-war Society (10 works) · Sociology (9 works) · Psychology (8 works) · Literature (6 works) · Movie theater (6 works) · History (5 works) · Political science (5 works) · Aesthetics (4 works) · Art history (4 works)