Keywords

• The author of this essay explores in what ways Elvira Notariâ€
• ™
• s films represent distinct forms of cultural expression of a marginalized regional cinema
• and asks the question: «What specific filmic and non-filmic formal
• stylistic
• and narrative elements may have attracted Italian-American immigrants to Notariâ€
• ™
• s productions?». Culturally specific to the Neapolitan region
• the traditional sceneggiata was conventionalized around 1919
• just about the same time Notariâ€
• ™
• s company (Dora Film) began producing filmed sceneggiate. Created for
• and about the southern urban dweller
• the multi-media interactive live sceneggiata performance
• through a host of familiar inter-medial expressive means
• directly engaged the audience
• stimulating their emotions
• arousing their feelings
• and encouraging their active participation. Through a close reading of the film â€
• ™
• A Santanotte is outlined how Notari worked to integrate cinematic stylistic devices with the conventions
• motifs and expressive elements of this traditional art form
• in order to transpose and adapt it to film