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By M. Cottino-Jones

Girls, wish, and gear in Italian Cinema deals, for the 1st time in Italian Cinema feedback, a contextual research of the illustration of girls in twentieth-century Italian movies. Marga Cottino-Jones argues that the methods ladies are depicted on display displays a unconscious "sexual conservatism" ordinary of an Italian society rooted inside a patriarchal ideology. The booklet then follows the gradual yet consistent strategy of social knowledge within the Italian society via ladies in movie, particularly after the Nineteen Fifties. finished in scope, this publication analyzes the flicks of the world over recognized female and male administrators, similar to Antonioni, Fellini, Rossellini, Visconti, Bertolucci, Benigni, Cavani, Wertmuller, Comencini, and Archibugi. detailed attention is given to the actresses and actors that experience develop into the icons of Italian femininity and masculinity, comparable to Sofia Loren, Gina Lollobrigida, Silvana Mangano, Gian Carlo Giannini, Marcello Mastroianni, and Alberto Sordi.

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Extra info for Women, Desire, and Power in Italian Cinema

Sample text

Yet he does not look at ease in the city. The camera follows his arrival closely in front of the imposing museum building where his painting is exhibited. From the fearful expression on his face in the middle-length shots we have of him, we see that he feels lost in and unfit for the crowded, noisy, and cold cement milieu of the city, so different from the quiet, peaceful, and cozy country environment where he has lived all his life. Furthermore, the camera sometimes loses him in the crowd that surrounds him, thus underscoring the lack of importance that city people attach to an unknown, badly dressed, shy young man, whose name and physical presence have not yet been connected with the successful painting that has attracted such a mob to that very museum.

From the fearful expression on his face in the middle-length shots we have of him, we see that he feels lost in and unfit for the crowded, noisy, and cold cement milieu of the city, so different from the quiet, peaceful, and cozy country environment where he has lived all his life. Furthermore, the camera sometimes loses him in the crowd that surrounds him, thus underscoring the lack of importance that city people attach to an unknown, badly dressed, shy young man, whose name and physical presence have not yet been connected with the successful painting that has attracted such a mob to that very museum.

This same city space, instead, is very hostile to the young man from the country, and even the car that he had earlier ridden in with her in the country in a positive way becomes a very negative experience at the end of the film, as it takes him away from her to the lunatic asylum, where we see him in the last sequence of the film. He is now reduced to a pathetic figure sitting on the floor, cutting up and playing with paper dolls, with his back to a white wall dominated by a large drawing of an owl.

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