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New Neapolitan Cinema$
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Alex Marlow-Mann

Print publication date: 2011

Print ISBN-13: 9780748640669

Published to Edinburgh Scholarship Online: March 2012

DOI: 10.3366/edinburgh/9780748640669.001.0001

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Characteristics and Functions of the Neapolitan Formula

Characteristics and Functions of the Neapolitan Formula

Chapter:
(p.41) 2. Characteristics and Functions of the Neapolitan Formula
Source:
New Neapolitan Cinema
Author(s):

Alex Marlow-Mann

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9780748640669.003.0003

Traditionally, Neapolitan cinema in Italy has been identified primarily with two genres: comedy and melodrama. Neapolitan comedy derives from a rich stage tradition and is exemplified by the work of playwright-actors like Eduardo and Peppino De Filippo and of comics originating in theatrical revues and cabaret like Totò and Massimo Troisi. Neapolitan melodrama typically structures its melodramatic narratives around the concept of napoletanità (‘Neapolitanness’). These films are known as being part of the ‘Neapolitan Formula’ (NF). This chapter concentrates on the post-war cycle (1946–1959), arguably the period in which the NF achieved its fullest expression. It begins by describing the principal sources of influence on the NF: Neapolitan song, the sceneggiata and melodrama. It then explores how the NF performed an almost ritualistic function for spectators in the popular quarters of Naples and other Southern Italian cities, generating audience participation by reflecting their ‘world-view’ and providing a cathartic release for pressures specific to Naples and the South through a deliberate use of napoletanità.

Keywords:   Neapolitan Formula, Neapolitan cinema, Italy, comedy, melodrama, napoletanità, Neapolitanness, Neapolitan song, sceneggiata, Naples

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