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872 Reviews the third chapter, 'La situazione del doppiaggio', focuses on professional issues of dubbing within the Italian context. This analysis could also interest scholars of film studies. While describing the current situation as discouraging but slowly improving, this section discusses how legal issues concerned with the profession have been re cently resolved or directed towards a solution. The grey area of translator-adaptor's copyrights is clarified while providing information on wages, contract clauses, and acts defending intellectual labour. The last chapter effectively deals with dubbing as a cultural task and attacks the American protectionist usage of dubbing as an international marketing strategy. Euro pean masterpieces have attained both fame and large circulation when they too have benefited from dubbing into English. In this perspective, a refusal to dub widely into English in the age of DVD not only affects artistic and popular European productions (which are prevented from acquiring capital that could be invested inproduction from worldwide distribution), but also limits the freedom of English-speaking audiences. These audiences cannot democratically access a product available in both dubbed and subtitled versions for other audiences (e.g. Italian, French, and Spanish). The authors argue against pseudo-intellectual protectionism by saying that 'nobody will force anybody towatch dubbed films' (p. I I4) but, with dubbing, those who do not like subtitles might discover new filmic cultures otherwise inaccessible to them. Tradurre per il doppiaggio conveys years of expertise in a study that balances research with the know-how of established professionals. As adaptors' jargon and acronyms are appropriately glossed, this study never lacks readability and could be come a useful university coursebook for audiovisual translation. Its only limitation partially justifiable-lies in the polemical tone that sometimes surfaces in the presen tation of facts, which might undermine arguments that are otherwise well illustrated. As an informative and well-grounded study, this book could become an instrument for learning (and teaching) the cultural and linguistic impact of dubbing in Italian society. Its legal dimension also makes it helpful reading for experts in film studies who are interested in issues of film circulation that are connected to dubbing. UNIVERSITY OF LEEDS FEDERICO M. FEDERICI A Companion to the 'Libro de buen amor'. Ed. by LOUISE M. HAYWOOD and LOUISE 0. VASVARI. (Colecci6n Tamesis, Serie A: Monografias, 209) London: Tamesis. 2004. Viii+23I pp. C45. ISBN I-85566-094-6. The good thing about this book is that it combines contemporary theoretical and interdisciplinary approaches, something frequently missing in the criticism of the Libro de buen amor, even when literary theory has been recognized as a fundamental tool for the comprehension of the text. In their introduction Louise M. Haywood and Louise 0. Vasvari (perhaps too modestly) emphasize the achievements of this book's predecessor, and express their wish to equal its importance in the history of the Libro's hermeneutics. Certainly, 'Libro de buen amor' Studies, ed. by G. B. Gybbon-Monypenny (London: Tamesis, I970), was an outstanding collection that marked a turning-point in the comprehension of Juan Ruiz's work, but the present volume is no less likely to succeed. As the editors indicate in the introduction, there are lacunae to be filled in the criticism of the Libro. Most of the past readings of this text have focused on its historical context and on the biography of the author. The traditional questions that were posed about the book were those concerning authorship, intent, structural unity, and literary influences. In line with new criticism already appearing in other fields of Spanish literary studies, Haywood and Vasvari demand a broader approach that MLR, 10 1 .3, 2oo6 873 includes studies on the orality and bawdy humour of popular culture, the interaction between oral and written modes of communication, and cultural and gender studies. They highlight the need to adopt multiple reading strategies since it is clear that a single theory is insufficient for the interpretation of the Libro. Despite this challenge to traditional scholarship, the debt to Gybbon-Monypenny is evident in the two articles on the Dofia Endrina/Don Melon episode. The notion of the death of the author, as evolved by Foucault and Barthes, isperti nent to the interpretation...
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As the country grew wealthier in the 1950s, a form of neorealism known as pink neorealism succeeded, and starting from the 1950s through the Commedia all'italiana genre, and other film genres, such as sword-and-sandal followed as Spaghetti Westerns, were popular in the 1960s and 1970s. Actresses such as Sophia Loren, Giulietta Masina and Gina Lollobrigida achieved international stardom during this period. Erotic Italian thrillers, or giallos, produced by directors such as Mario Bava and Dario Argento in the 1970s, also influenced the horror genre worldwide. In recent years, the Italian scene has received only occasional international attention, with movies like Cinema Paradiso written and directed by Giuseppe Tornatore, Mediterraneo directed by Gabriele Salvatores, Life Is Beautiful directed by Roberto Benigni, Il Postino: The Postman with Massimo Troisi and The Great Beauty directed by Paolo Sorrentino.