Introduction
The Italian movies can be considered a part of the Mediterranean cinema. It is obvious that Italy is a part of the Mediterranean coast line, though it should not mean that there are no cultural differences between countries of the same coast line. As you know, the Mediterranean region is rich for different cultures, languages, and traditions as well as conflicts, misunderstanding, and politics. Gaps can be regarded in various spheres of human life. Moreover, people of the Mediterranean region are considered to be passionate, hot-tempered, and peppery like spices which are a distinctive feature of this region. Culture, traditions, and arts of the Mediterranean region vary greatly from one country to another. Consequently, traditions in separate activities both peaceful and creative can differ considering different countries of the Mediterranean region.
Italy is a part of the Mediterranean region; its traditions have deep roots, its culture and language are bright and unique, its arts are magnificent, the whole world admires creations of Italian art men. Cinema is an art of presenting events from our everyday life, fiction, and influence of world events on the screen. Italian moviemakers are professionals in persuading people in emotions introduced on the screen; Italian drama is genuinely dramatic, while the Italian comedies are purely funny and clear.
Mediterranean Cinemas and Italy
As every country, Italy experiences different problems in the economic, political, social, and cultural spheres. It is natural for arts to be one of the spheres where problems can be displayed, decorated, exaggerated, or neglected. Italian cinema is a part of the great Mediterranean cinemas. It is obvious that some problems of the movie industry can be considered taking into account the whole coast line of the Mediterranean Sea.
The article ““Lives Aquatic: Mediterranean Cinema and an Ethics of Underwater Existence” written by Elena Past presents the problems of the locality. Numerous countries have this sea as a locality of their films. It is necessary to discuss the problem of influence of shooting and underwater shooting on the local nature. The environmental protection should be considered one of the burning issues of the region. Authorities must pay more attention to the impact of the shooting process on the overall conditions of nature.
How can locality influence the quality of the film and the effectiveness of presentation of various scenes? This aspect has been discussed in the article “The Romantic Travel Movie, Italian-Style” written by James A. Clapp. As a rule, the setting is one of the most important parts of the shooting process. Filmmakers are eager to go wherever it is necessary and take there all the staff in order to create an outstanding film with effective settings. Romantic movies where trips and adventures take the most time can be considered an integral part of the Italian movies as well as the Mediterranean cinema.
Conlusion
The Italian movie is an integral part of the Mediterranean cinema. It is full of traditions and culture, passion and emotions. The locality and emotions make a considerable part of the Italian movies. It is necessary to mention that problems faced by the Italian film industry exist in this sphere concerning every country of the globe. Cultural differences, conflicts, the problem of dubbing, genres and different social classes presented in films are a little part of those problems experienced by film industries of countries all over the world.
Works Cited
Ben-Ghiat, Ruth. “The Italian Cinema and the Italian Working Class.” International Labor and Working-Class History 59, Workers and Film: As Subject and Audience (2001): 36-51. Web.
Buonanno, Milly. “From Literary to Format Adaptation: Multiple Interactions Between the Foreign and Domestic in Italian TV Drama.” Critical Studies in Television 4.1 (2009): 65-83. Web.
Clapp, James A. “The Romantic Travel Movie, Italian-Style.” Visual Anthropology 22.1 (2009): 52-63. Web.
Chiapetta-Miller, Tina. “Stardom, Italian Style: Screen Performance and Personality in Italian Cinema.” Italian Culture 27.2 (2009): 149
Ferrari, Chiara. “Dubbing The Simpsons: Or How Groundskeeper Willie Lost His Kilt in Sardinia.” Journal of Film & Video 61.2 (2009): 19-37. Web.
Hipkins, Danielle. “Why Italian Film Studies Needs a Second Take on Gender.” Italian Studies 63.2 (2008): 213-234. Web.
O’Leary, Alan. “After Brunetta: Italian Cinema Studies in Italy, 2000 to 2007.” Italian Studies 63.2 (2008): 279-307. Web.
Past, Elena. “Lives Aquatic: Mediterranean Cinema and an Ethics of Underwater Existence.” Cinema Journal 48.3 (2009): 52-65. Web.