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  • 15.1 : 2006 : PDF: Closet and Confessional: Television and Hybridity in Mambo Italiano by Murray Leeder
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    Closet and Confessional: Television and Hybridity in Mambo Italiano

    by Murray Leeder

    Abstract: Mambo Italiano stands at the juncture of three media: a film adapted from a play, both of which are prominently concerned with and carry signifiers of television. André Bazin argued that film is centripetal in its tendencies and theatre is centrifugal in its, and this article posits television as a medium existing between film and theatre, capable of tending either way, or both at once. It explores how the film thematizes this hybridity in television and links it to the hybridity of its gay Italian and Italian-Canadian characters. In Mambo Italiano the confessional, a location of both communication and non-communication, functions as the film’s central metaphor and structuring impulse. This article considers the confessional and its various analogues throughout Mambo Italiano, not the least of which is television itself.

    Résumé: Mambo Italiano se trouve à la jonction de trois médias : une adaptation cinématographique d’une pièce de théâtre dont l’un des signifiants principaux est la télévision. Selon André Bazin, le cinéma a des tendances centrifuges alors que le théâtre est essentiellement centripète. Cet article propose que la télévision, se situant entre théâtre et cinéma, est à la fois centripète et centrifuge. Le caractère hybride de la télé est ici associé à l’hybridité identitaire des personnages gais et italiano-canadiens du film. En parallèle à la télévision, cet article analyse aussi le confessionnal qui représente un lieu de communication/non-communication élaborant ainsi l’une des métaphores centrales du film.

    PDF: cj-film-studies151_Leeder_hybridity.pdf