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Cecilia Mangini: A Counterhegemonic Experience of Cinema

Research output: Contribution to Journal/Magazine › Journal article › peer-review

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Cecilia Mangini: A Counterhegemonic Experience of Cinema. / Missero, Dalila.
In: Feminist Media Histories, Vol. 2, No. 3, 01.07.2016, p. 54-72.

Research output: Contribution to Journal/Magazine › Journal article › peer-review

Harvard

Missero, D 2016, 'Cecilia Mangini: A Counterhegemonic Experience of Cinema', Feminist Media Histories, vol. 2, no. 3, pp. 54-72. https://doi.org/10.1525/fmh.2016.2.3.54

APA

Missero, D. (2016). Cecilia Mangini: A Counterhegemonic Experience of Cinema. Feminist Media Histories, 2(3), 54-72. https://doi.org/10.1525/fmh.2016.2.3.54

Vancouver

Missero D. Cecilia Mangini: A Counterhegemonic Experience of Cinema. Feminist Media Histories. 2016 Jul 1;2(3):54-72. doi: 10.1525/fmh.2016.2.3.54

Author

Missero, Dalila. / Cecilia Mangini : A Counterhegemonic Experience of Cinema. In: Feminist Media Histories. 2016 ; Vol. 2, No. 3. pp. 54-72.

Bibtex

@article{e6e7f4362cc04c4593c3b20a32fac855,
title = "Cecilia Mangini: A Counterhegemonic Experience of Cinema",
abstract = "This essay offers a feminist reading of the work of Italian film director Cecilia Mangini. Drawing on an archaeological approach, it focuses on Mangini{\textquoteright}s experience as a woman in Italian cinema and her contribution to the realization of three movies—To Arms!We{\textquoteright}re Fascists! (codirected with Lino Del Fra and Lino Miccich{\'e}, 1961–62), Stalin (directed with Lino Del Fra and Franco Fortini, 1962–63), and Being Women (1963–65)—all clear examples ofthe counterhegemonic cinema that Mangini developed in the fissures of mainstream, male dominated practices. In her view, nonfiction film is a tool for cultural and political struggle, andit must affect the present in order to provide democratic access to knowledge. Following the Gramscian notion of the organic intellectual, Mangini has built a specific aesthetic and apersonal approach to film direction, which aims to reach the broadest audience possible and, at the same time, to develop a coherent feminist militant discourse.",
keywords = "archives, Cecilia Mangini, counter-cinema, found footage film, nonfiction film",
author = "Dalila Missero",
year = "2016",
month = jul,
day = "1",
doi = "10.1525/fmh.2016.2.3.54",
language = "English",
volume = "2",
pages = "54--72",
journal = "Feminist Media Histories",
issn = "2373-7492",
publisher = "University of California Press",
number = "3",

}

RIS

TY - JOUR

T1 - Cecilia Mangini

T2 - A Counterhegemonic Experience of Cinema

AU - Missero, Dalila

PY - 2016/7/1

Y1 - 2016/7/1

N2 - This essay offers a feminist reading of the work of Italian film director Cecilia Mangini. Drawing on an archaeological approach, it focuses on Mangini’s experience as a woman in Italian cinema and her contribution to the realization of three movies—To Arms!We’re Fascists! (codirected with Lino Del Fra and Lino Micciché, 1961–62), Stalin (directed with Lino Del Fra and Franco Fortini, 1962–63), and Being Women (1963–65)—all clear examples ofthe counterhegemonic cinema that Mangini developed in the fissures of mainstream, male dominated practices. In her view, nonfiction film is a tool for cultural and political struggle, andit must affect the present in order to provide democratic access to knowledge. Following the Gramscian notion of the organic intellectual, Mangini has built a specific aesthetic and apersonal approach to film direction, which aims to reach the broadest audience possible and, at the same time, to develop a coherent feminist militant discourse.

AB - This essay offers a feminist reading of the work of Italian film director Cecilia Mangini. Drawing on an archaeological approach, it focuses on Mangini’s experience as a woman in Italian cinema and her contribution to the realization of three movies—To Arms!We’re Fascists! (codirected with Lino Del Fra and Lino Micciché, 1961–62), Stalin (directed with Lino Del Fra and Franco Fortini, 1962–63), and Being Women (1963–65)—all clear examples ofthe counterhegemonic cinema that Mangini developed in the fissures of mainstream, male dominated practices. In her view, nonfiction film is a tool for cultural and political struggle, andit must affect the present in order to provide democratic access to knowledge. Following the Gramscian notion of the organic intellectual, Mangini has built a specific aesthetic and apersonal approach to film direction, which aims to reach the broadest audience possible and, at the same time, to develop a coherent feminist militant discourse.

KW - archives

KW - Cecilia Mangini

KW - counter-cinema

KW - found footage film

KW - nonfiction film

U2 - 10.1525/fmh.2016.2.3.54

DO - 10.1525/fmh.2016.2.3.54

M3 - Journal article

VL - 2

SP - 54

EP - 72

JO - Feminist Media Histories

JF - Feminist Media Histories

SN - 2373-7492

IS - 3

ER -