Sarah Culhane
Biographic Data
| ID | 4140683 |
|---|---|
| NAME | Sarah Culhane |
| GIVEN NAMES | Sarah |
| FAMILY NAME | Culhane |
| SIGNATURE | CULHANE S |
| AFFILIATIONS | University of Bristol |
| ORCID | 0009-0006-4928-5280 |
| VERIFIED | Yes |
| TOTAL WORKS | 2 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 2 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2017 |
| LATEST PUBLICATION YEAR | 2020 |
| H-INDEX | 0 |
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…
Street Cries and Street Fights
This essay (and the accompanying video-essay) analyses the vocal and bodily performances of Anna Magnani and Sophia Loren across a series of scenes from four films – Campo de’ fiori (Mario Bonnard, 1943), L’oro di Napoli (Vittorio De Sica, 1954), Pane, amore e ... (Dino Risi, 1955) and Ieri, oggi, domani (Vittorio De Sica, 1963) – in which both actresses play street traders. The characters played by Magnani and Loren in these films (and numerous …
No prominent works on this page.
Street Cries and Street Fights
This essay (and the accompanying video-essay) analyses the vocal and bodily performances of Anna Magnani and Sophia Loren across a series of scenes from four films – Campo de’ fiori (Mario Bonnard, 1943), L’oro di Napoli (Vittorio De Sica, 1954), Pane, amore e ... (Dino Risi, 1955) and Ieri, oggi, domani (Vittorio De Sica, 1963) – in which both actresses play street traders. The characters played by Magnani and Loren in these films (and numerous …
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…
Art (2 works) · Art history (2 works) · Italian Fascism and Post-war Society (2 works) · Comedy (1 work) · Italian Literature and Culture (1 work) · Literature (1 work) · Movie theater (1 work) · Narrative (1 work) · Political science (1 work) · Political theory and Gramsci (1 work)