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Women in Noir |
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| 16/11/2008 |
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We women are incorrigible, I thought. In the end, we inevitably fall into the most antiquated clichés: we fall incurably in love with handsome married men we cannot have. Damn, we freed ourselves from masculine domination but hadn’t taken a single step forward in emancipating our love life! (…) To Hell with it all! In my next life I hoped I would be a man or, even better, a snake or mandrill, or some other animal, anything but a bad imitation of Anna Karenina or Madame Bovary.” Alicia Giménez-Bartlett (Snakes in Paradise)
Emerging from stereotypes: female writers and characters in genre literature. Detective or victim? Solver of crimes or dead body? Increasingly more women write noir, detective and horror stories and female protagonists are no longer isolated cases. What are the problems and doubts facing female writers who want to create an image of women that is not simply a reinterpretation of old norms? And what is one’s relationship with one’s social context, especially in Italy, where women’s issues remain very much an unresolved issue?
These and other questions will be answered by our guests at Courmayeur 2008: foreign writers Alicia Giménez-Bartlett, Liza Marklund and Sharon Bolton and Italian writer-screenwriters Simona Vinci, Elisabetta Bucciarelli and Chiara Tozzi.
Moderator: Loredana Lipperini
Simona Vinci (Milan, 1970) lives in Budrio. She tirelessly researches obsessions and uncertainties in love, thus often depicting disturbing atmospheres. Her first novel, Dei bambini non si sa niente (1997), was the literary hit of the year and was translated in numerous other countries, including in the US as What We Don’t Know About Children. In 1999 she published a collection of short stories, In tutti i sensi come l'amore, which she followed up with Come prima delle madri (2003), Brother and Sister (2004), Stanza 411 (2006) and Strada Provinciale Tre (2007). For younger readers she has written Corri, Matilda (1998) and Matildacity (1998) and also wrote the story La più piccola cosa, part of the anthology Le ragazze che dovresti conoscere (2004). Her book Rovina was published in 2007.
Elisabetta Bucciarelli lives and works in Milan. She has written the anthologies of essays Strategie di comunicazione, Io sono quello che scrivo and Le professioni della scrittura. She has written five screenplays, including Tempo da buttare, directed by Roberta Torre, and Amati Matti, directed by Daniele Pignatelli, which picked up a Jury Special Mention at the 53rd Venice Film Festival. She made her literary “genre” debut with the story L’arte è morta evviva l’arte, in the anthology Crimine. She has published the novels Happy Hour, Dalla parte del torto and Femmina De Luxe (2008).
Chiara Tozzi lives and works in Rome as a writer, film and television screenwriter, psychotherapist and Jungian analyst. She has worked with various directors, including Gillo Pontecorvo, Giuseppe Tornatore and Daniele Costantini, and screenwriters such as Sandro Petraglia (La Omicidi, RAI 1, 2002). A professor of screenwriting and psychology, she has taught at the Universities of Rome and Florence, the National Film School and other Italian institutions. She is a member of the Italian Association of Analytical Psychology and International Association for Analytical Psychology), and president of IMAGHIA (Association for Creative Psychological Consulting for Film and Television) and the IMAGHIA Award. She has published the anthology of stories Tanti posti vuoti (Aktìs,1994), L’amore di chiunque (1997) and Condividere (2005), the essay Il paziente sceneggiatore (2007) and the novel Quasi una vita (2008).
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