Notes

Introduction

1. In an interview with a journalist of the magazine Bianco e Nero 30, no. 1–2 (1972): 1–112. The translation is mine. 2. As stated by Cristine Gledhill in “Recent Developments in Feminist Criticism,” in Film, Theory and Criticism, ed. Gerald Mast, Marshall Cohen, and Leo Braudy (New York: Oxford University Press, 1992), 93. Marcia Landy also considers the phenomenon of stardom in the chapter “The Folklore of Femininity and Stardom” in her book Italian Film (Cambridge, UK: Cambridge University Press, 2000), 261–308. 3. Nancy Chodorov, “Gender as Personal and Cultural,” in The Second Signs Reader: Fem- inist Scholarship 1983–1996, ed. Ruth-Ellen B. Joeres and Barbara Laslett (Chicago: University of Chicago Press, 1996), 216–44. 4. According to Teresa De Lauretis in Alice Doesn’t: Feminism, Semiotics, Cinema (Bloom- ington, IN: Indiana University Press, 1982), in cinema, as well as in traditional written narrative, woman-as-spectacle stands as obstacle to the narrative action, which is acti- vated exclusively by the male protagonist in his quest to conquer the woman he loves. As clearly explained by Laura Mulvey in Visual and Other Pleasures (Bloomington, IN: Indiana University Press, 1989), “woman, as object of the male’s desire and gaze, becomes spectacle. As such, she interrupts the flow of the narrative action in cinema, while the eye of the camera, together with the eye of the male hero(s) on the screen and of the male spectators off screen (who identify with the hero on the screen), linger on her as spectacle” (21). This visual process affecting the narrative action of films is clearly formulated in Italian films, where the active role of the male protagonists con- firms the sexual objectification of the female characters they pursue. This process is clearly displayed in most of the silent films discussed in Chapter 2, as well as in several of the later sound films 5. “Sofia” is the Italian spelling that I am using in this book. The American spelling is “Sophia.” 6. Maggiorata fisica means “exceptionally physically endowed,” referring to a woman’s physical beauty, and it was an expression used by as an actor in an episode of Altri Tempi (Other Times; 1951), a film by Blasetti, where he plays a lawyer and uses this expression to refer to . 7. For a more detailed discussion of the origins of cinema, see my “The Origins of Italian Cinema,” in Carlo Celli and Marga Cottino-Jones, A New Guide to Italian Cinema, 3rd ed. (New York: Palgrave Macmillan, 2007), 9–10. 8. Patriarchy as a system is founded upon the family and the importance it has in soci- ety, centered as it is upon a strong, all-powerful male figure, the father, or pater in Latin, and a submissive, nurturing yet powerless female figure, the mother. This view has been strongly supported by Christian ideology from the time of Genesis and its 228 NOTES

interpreters, starting with St. Paul and the first fathers of the church. Indeed, according to St. Paul, “Women should be subject to their men . . . Woman’s authority is nil; let her in all things be subject to man. Adam was beguiled by Eve, not she by him. It is right that he, whom woman led to wrong doing, should have her under his direction, so that he may not fail a second time through female levity.” of Ideas on Woman, ed. Rosemary Agonito (New York: G. P. Putnam’s Sons, 1977), 69–72. 9. In the last few decades, psychoanalysis has proposed interesting perspectives on the role that women, and especially mothers, play in society. Consult Chris Weedon’s Fem- inist Practice and Poststructuralist Theory (New York: Blackwell, 1987); E. Ann Kaplan’s Motherhood and Representation (London: Routledge, 1992); and Julia Kristeva’s Desire in Language: A Semiotic Approach to Literature and Culture (New York: Columbia University Press, 1980). Contemporary Italian feminist thought adds an interesting variant to such views based on careful analysis of the everyday experiences of Ital- ian women and formulated according to a different consideration of the effects upon young girls of the pre-Oedipal phase and of the Oedipal complex. Consult Giuliana Bruno’s’ collection of essays in Off-Screen: Women and Film in (London: Rout- ledge, 1988). 10. Psychoanalytical theories, especially Lacan’s, share this Christian view of women as dangerous to men, and both Freud and Lacan, while upholding the importance of motherhood in family and social life, at the same time, support the concept of “differ- ence” on which male-female relationships are founded. 11. When I mention a film for the first time per chapter, I first give the Italian title, fol- lowed by the official English (U.S.) title in parentheses, italicized, and capitalized. When necessary, I give an English literal translation in parentheses, lowercased and not italicized. After that first mention, I only give the Italian title. Capitalization in titles is different, as Italian titles capitalize only the first word and proper names, while formal titles in English capitalize most words. If the film’s title is the same in Italian and in English, capitalization will be the only way to differentiate between the two; that is, is the Italian title, while La Dolce Vita is the English/American title. 12 As already mentioned, this condition was clearly proposed by the church fathers of early Medieval times, as it was by St. Paul, who, around 150 BC, wrote in 1 Corinthians, “The head of every man is Christ, and the head of every woman is man . . .” or still, “The man is not of the woman, but the woman of the man. Neither was the man cre- ated for the woman, but the woman for the man” in History of Ideas on Woman, 69–72. 13. As suggested by Kaplan, Motherhood and Representation, 46–48. 14. Ibid., 125–26. 15. Jackie Byars performs similar analyses in her essay “Gazes/Voices/Power: Expanding Psychoanalysis for Feminist Film and Television Theory,” in Female Spectators, Looking at Film And Television, ed. E. Deidre Pribiam (London: Verso, 1992), 110–31. 16. For an exhaustive discussion of this topic, see Christian Metz’s The Imaginary Signifier: Psychoanalysis and Cinema (Bloomington, IN: Indiana University Press, 1982). 17. For a discussion of this expression, see the introduction to the collection Stardom: Industry of Desire, ed. Christine Gledhill (New York: Routledge, 1991), xiii–xx. 18. Desire, therefore, as the driving force behind pleasure in cinema, is indeed constantly connected with the visual and, more specifically, with looking, an activity that usually proposes a binary opposition between the one who looks and what or who is being looked at. Feminist film theory emphasizes the importance of visualization in cinema and particularly the importance of the look that is often connected with the control of the narrative action in films. Indeed, feminist film critics have substantially demon- strated that the one who does the looking is usually the male protagonist, who is also NOTES 229

the character who controls the narrative action, as Teresa De Lauretis clearly demon- strates in her groundbreaking book, Alice Doesn’t: Feminism, Semiotics, Cinema, espe- cially in the chapter “Desire in Narrative,” 103–57. 19. Jonathan Rosenbaum, Movies as Politics (Berkeley, CA: University of California Press, 1997), 3. 20. This term has been used by Dorothy Dinnerstein in the introduction to her book, The Mermaid and the Minotaur: Sexual Arrangements and Human Malaise (New York: Harper & Row, 1976), 2–3, where she states, “The most potent sources of sexual con- servatism are buried in the dark, silent layers of our mental life. This burial keeps them potent. To articulate them openly, to see them in the light of full awareness, is a necessary condition for growth—away . . . from tightly, coercively predefined modes of feelings and action.” 21. Ibid. 22 Although, I am fully aware that feminist criticism has been the most successful critical theory that has highlighted the social unfairness that women constantly face even in contemporary society. 23. Readers interested in this approach may consult also the collection of articles in Femi- nism and Materialism: Women and Modes of Production, ed. Annette Kuhn and Ann Marie Wolpe (London: Routledge, 1978) and Marcia Landy’s book, Film, Politics, and Gramsci (Minneapolis, MN: University of Minnesota Press, 1995). 24. See Timothy Corrigan, A Short Guide to Writing about FILM (New York: Longman, 1997), 88. 25. I am aware that there is a very large body of important, critical, published studies on cinema and on male-female relationships. I hope that Women, Desire, and Power in Italian Cinema will offer its readers an insight into Italian culture. 26. In Il Corriere della sera, of , Italy, December 9, 2002. 27. If my readers need more background information, they can consult the last edition of my History of Italian Cinema that I have reedited with my colleague Carlo Celli and that has been published by Palgrave Macmillan with the title A New Guide to Italian Cinema. In that book, I give ample reference to other scholars in the field who have worked on Italian films in the and abroad and to primary works by directors and authors that shed more light on their filmic experience. 28. Celli and Cottino-Jones, A New Guide to Italian Cinema. 29. As the political and economic history of the 1980s and 1990s is interconnected, I have provided in Chapter 8 the historical information that is essential for the 1990s, and consequently the beginning of Chapter 9 provides only some general information about Italian cultural life in the 1990s. 30. As Yvonne Rainer suggests in her “Some Ruminations around Cinematic Antidotes to the Oedipal Net(les) while Playing with DeLauraedipus Mulvey, or He May Be Off Screen, but . . . ,” The Independent, April 1986, 20–29. 31. As discussed by Giulia Alberti in her essay “Conditions of Illusion,” in Off-Screen, Women and Film in Italy, 36–54.

Chapter 1

1. A very popular American version of Quo vadis was directed in 1951 by Merryn LeRoy, starring Robert Taylor and Deborah Kerr. 2. On and the Italian silent film, see the excellent studies of Gian Piero Bru- netta and Gianni Rondolino, respectively in Cent’anni di Cinema Italiano, 2 vols. (Bari: 230 NOTES

Laterza, 1995) and Storia del Cinema (Torino, Italy: UTET, 2001). According to Ron- dolino, “Cabiria influenced also David W. Griffith, who used it as his model for the composition of Intolerance.” Ibid., 89. Specifically on Cabiria, see the study by Gianni Rondolino, I giorni di Cabiria (Torino, Italy: Lindrau, 1993). 3. That is, the combination of emotional solicitations that trigger the compassionate reaction of the audience. We will consider these again, especially in the following chapter. 4. , indeed, conquered the popular imagination of the audience and prompted the creation of a long series of films named after him and centered on him as pro- tagonist. This series amounted to approximately fifteen films, made between 1915 and 1926, in a ten-year span: Some of these films were Maciste (Marvelous Maciste; 1915) and Maciste alpino (Maciste in the ; 1916) by , Maciste poliziotto (Maciste in the police force; 1918) by Roberto. Luigi Roberti, Maciste innam- orato (Maciste in love; 1919) and Maciste salvato dalle acque (Maciste rescued from the waters; 1921) by Luigi Romano Borgnetto, and Maciste all’inferno (Maciste in Hell; 1925) and Maciste nella gabbia dei leoni (Maciste in the lion’s cage; 1926) by . 5. Mary Ann Doane has exhaustively discussed this topic in her book Femmes Fatales (New York, Routledge, 1991). 6. I was present when the film was projected in at the County Museum in the early 1980s, just after it had been restored in Italy, and I was impressed by the success- ful reception it received by the crowd present in the theater and by the critical acclaim bestowed on it.

Chapter 2

1. Brunetta deals with the topic of divismo in “Cantami o diva,” Chapter 6 of his Cent’anni di cinema italiano (Bari, Italy: Laterza, 1995), 97–118. See also Pietro Bianchi, La Ber- tini e le dive del cinema muto (Torino, Italy: UTET, 1969). 2. and Eleonora Duse, who was also Gabriele D’Annunzio’s long- time lover, were actually the two best-known stage actresses of their times admired as famous stage dive both in Italy and abroad. While Bertini became also a very famous cinema diva, Duse did not pursue a film career after her first cinema experience with Cenere. 3. As correctly suggested by Mary Ann Doane. In her words, “The feminine body is insis- tently allegorized and mythicized as excess in art, literature and philosophy.” Femmes Fatales, Feminisms, Film Theory, and Psychoanaslysis (London: Routledge, 1991), 2. 4. Thus, fitting Laura Mulvey’s definition of scopophilia, or pleasure in looking, given in her Visual and Other Pleasures (Bloomington, IN: Indiana University Press, 1989), 25. 5. According especially to G. Rondolino’s view in his Storia del Cinema (Torino, Italy: UTET, 2001), 91–92. 6. The eighteenth-century philosophical gender view of the conflict between the city (equating culture, progress, and activity with the male) and the country (equating the natural and the conservative with the female) is here cleverly overturned with a misog- ynist intent by connecting the woman with the city and the man with the country. Indeed, while she stands for the city and its cultural sophistication and technological advances, the woman and all the elements connected with her are projected in a nega- tive light aimed at disrupting and eventually destroying the serenity and tranquility NOTES 231

of the young countryman who has aroused her sexual desire. This young man, on the other hand, stands for all the positive elements of country life, and, because of his goodness and inexperience, he falls for the sophisticated charm of the city woman who becomes the erotic object of his desire. 7. The owl plays a very symbolic role in this story, as it is constantly connected with the woman poet in more ways than through her owl-shaped hat. She mentions this con- nection in the letter she writes to the naïve countryman, in which she compares herself to an owl that will fly to his country house at night to grasp him with her powerful claws and take him away with her to her castle, which is called the owl castle, where several live owls are constantly framed on the walls and towers. At the end, when the young painter comes back to his simple country life and complains that he cannot paint any longer; the only picture he repeatedly tries to draw is the owl-castle towers with an enormous overpowering owl figure dominating the white canvas. 8. Verismo, meaning “representation of the true aspects of life,” was a literary movement of the late nineteenth century influenced by the similar French literary movement called naturalismo. Most of Verga’s novels and short stories deal with low-class char- acters and their hard, everyday existence. His works highlight the injustice of class difference in Italy, especially in the south. His novel, Tigre reale, belongs, however, to his pre-verismo period, influenced by the sentimental view of life and love typical of nineteenth-century Romantic literature. 9. As quoted in Victor Burgin’s “Perverse Space,” in Sexuality and Space, Princeton Papers on Architecture, ed. Beatriz Colomina (Princeton, NJ: Princeton University Press, 1992), 214–40. 10. As discussed by Mary Anne Doane in several chapters of her book Femmes Fatales. 11. That is, with a sfregio, or a knife-cut, the typical southern Italian way of vendetta, or revenge. 12. Contemporary research has indeed disclosed that Francesca Bertini was actively involved in the direction of the film. G. Rondolino gives both Serena and Bertini’s names under the film’s direction in his fundamental Storia del Cinema, 94. 13. Thomas Elsaesser describes the major characters of melodrama “in terms which denote passivity and impotence” in “Tales of Sound and Fury: Observations on the Family Melodrama,” Monogram 4 (1972): 2–15. See also Mary Ann Doane’s “The Moving Image: Pathos and the Maternal,” in The Desire to Desire: The Woman’s Film of the (Bloomington, IN: Indiana University Press, 1987), 70–122. 14. According to Doane, pathos is often “related to a certain construction of temporality in which communication or recognition take place, but are mistimed. Moving narra- tives manifest an unrelenting linearity, which allows the slippage between what is and what should have been to become visible. What the narratives demonstrate above all is the irreversibility of time.” Ibid., 85. 15. Ibid. 16. As Violetta’s first act aria, “Sempre libera degg’Io, trasvolar di gioia in gioia” (I wish I’d be free to fly from one pleasure to another), clearly conveys. 17. These terms are used to highlight the importance of the male authority in the context of family relationships, especially those between fathers and their children. 18. In his essay “Film, Emotion, and Genre,” in Passionate Views; Film Cognition, and Emo- tion, eds. Karl Plantinga and Greg M. Smith (Baltimore, MD: Johns Hopkins Univer- sity Press, 1990), 21–47. 19. Doane, Desire to Desire, 73. 20. Ibid., 74. 21. See Noel Carroll’s “Film, Emotion, and Genre,” 36. 232 NOTES

22. In the sense of joyous completeness typical of the relationship that can exist between mother and child, according to Julia Kristeva. See especially her Desire in Language: A Semiotic Approach to Literature and Culture (New York: Columbia University Press, 1980). 23. De Sica’s I bambini ci guardano will be analyzed in Chapter 3 to point out the several deviations that it offers from a typically fascist ideological production. Here we briefly consider it for how it stands within the maternal melodrama subgenre. The film tells the story of a well-to-do couple and their young son in fascist Italy of the 1930s, focusing particularly on Nina, the female protagonist who refuses her role as wife and mother in order to go and live with her lover. Because of her behavior, Nina is judged by bourgeois society as an unfit mother. The character of Nina devi- ates, then, from the traditional codification of woman as “good” mother, thus high- lighting her resisting position within a patriarchal society, where she, as a mother, is expected to focus her desire exclusively on her child. Nina, instead, focuses her desire outside of the family and away from her son, obviously showing a need to think independently and to ignore the pressures and constrictions of patriarchal family life. 24. See Carroll, “Film, Emotion, and Genre,” 36.

Chapter 3

1. Two later films represent very effectively this particular historical and social situation: Lina Wertmüller’s Film d’amore e anarchia (; 1973) and ’s Una giornata particolare (; 1977). I will analyze them in Chapter 7. 2. For more information about the use of documentaries in fascist times, see the chapter titled “LUCE/Cinema/Shadows” in James Hay’s Popular Film Culture in Fascist Italy: The Passing of the Rex (Bloomington, IN: Indiana University Press, 1987), 201–32; and Chapter 11, “La fascistizzazione imperfetta,” in G. Brunetta’s Cent’anni di cinema ital- iano (Bari, Italy: Laterza, 1995), 1: 179–90. 3. See Lucia Re’s study “Fascist Theories of ‘Woman’ and the Construction of Gender,” in Mothers of Invention: Women, , and Culture, ed. Robin Pickering-Iazzi (Minneapolis, MN: University of Minnesota Press, 1995), 76–100. 4. For an exhaustive discussion of this topic see Steven Ricci’s Cinema and Fascism: Ital- ian Film and Society, 1922–1943 (Berkeley, CA: University of California Press, 2008) and Marcia Landy’s Fascism in Film: The Italian Commercial Cinema 1931–1943 (Princeton, NJ: Princeton University Press, 1986). 5. Mussolini himself liked to have his picture taken in different poses that would portray him looking like a popular hero of the times. He especially liked to be compared to Maciste, the popular hero of the film Cabiria. 6. For an exhaustive discussion of Notari’s films, see Giuliana Bruno’s Streetwalking on a Ruined Map: Cultural Theory and the City Films of Elvira Notari (Princeton, NJ: Princ- eton University Press, 1993). 7. Mikhail Bakhtin, L’oeuvre de Francois Rabelais et la culture populaire au Moyen Age et sous la Renaissance (Potier, France: Gallimard, 1970). 8. See Ruby Rich’s “In the Name of Feminist Film Criticism,” in Issues in Feminist Film Criticism, ed. by Patricia Erens (Bloomington, IN: Indiana University Press, 1990), 268–87. 9. Visconti was advised to make a film about Cain’s novel by Jean Renoir, the very famous French director with whom he had worked in France in the early 1930s. Visconti’s film NOTES 233

was not released in the United States until 1975, because of some legal misunderstand- ing. Cain’s novel was filmed two more times in later years, in the United States. One version was directed by Tay Garnett in 1946, with Lana Turner playing the female pro- tagonist. Another one was directed by Bob Rafelson in 1981, starring Jack Nicholson and Jessica Lange.

Chapter 4

1. Readers interested in learning more about the neorealist movement in Italian film, may find more exhaustive information in the following studies in English: Roy Armes, Patterns of Realism. A Study of Italian Neorealist Cinema (Cranbury, NJ: A. S. Barnes, 1971); Peter Bondanella, Italian Cinema from Neorealism to the Present (New York: Ungar, 1990); Ben Lawton, “: A Mirror Construction of Reality,” Film Criticism 3 (1979): 8–20; and Millicent Marcus, Italian Film in the Light of Neo- realism (Princeton, NJ: Princeton University Press, 1986). 2. For a comprehensive study of Rossellini in English, see Peter Brunette, Roberto Rossel- lini (Oxford, UK: Oxford University Press, 1987). 3. On , see the few, but very insightful pages dedicated to her by Gian Piero Brunetta in Chapter 5 of his Cent’anni di Cinema Italiano (Bari, Italy: Laterza, 1995), 2: 95–109. 4. As explained by Paola Melchiori in her essay “Women’s Cinema: A Look at Female Identity,” in Bruno, Giuliana, and Maria Nadotti, eds., Off-Screen: Women and film in Italy (London: Routledge, 1988), 25–35. 5. As Fellini himself explains in his Fare un film (Torino, Italy: Einaudi, 1980), 14–15. 6. Melchiori, “Women’s Cinema,” 31. 7. Some of the scholars who have commented on this trend are Peter Brooks in The Melo- drama Imagination (New Haven, CT: Yale University Press, 1976); Griselda Pollock, Geoffrey Nowell-Smith, and Stephen Heath in “Dossier on Melodrama,” Screen 18, no.2 (1977): pp.105–19; and E. Ann Kaplan in Motherhood and Representation (Lon- don: Routledge, 1992), 59–123. 8. We will notice the same process in Visconti’s Bellissima, where Anna Magnani is again cast to play Maddalena, the female protagonist of the film, in Chapter 5.This process will also be visible in the female protagonists of several of Lina Wertmüller’s films in Chapters 7 and 8. 9. For a more detailed presentation of the De Sica-Zavattini collaboration, see Carlo Celli’s essay “Ladri di biciclette, in The , ed. Giorgio Bertellini (London: Wallflower, 2004), 43–50. 10. From Zavattini’s “Thesis on Neorealism” in Springtime in Italy: A Reader on Neoreal- ism, ed. David Overby (Hamden, CT: Archon Books, 1979), 67–78. 11. Notice the difference in the English title of the film, Bicycle Thief, that proposes a sin- gular form of the noun “thief,” thus ignoring the plural form used by the Italian title “Ladri.” In so doing, the English title also ignores the social criticism that the Italian title conveys by calling attention to the fact that, once pressed by social injustice, even an honest man like Antonio is reduced to a thief in order to survive. 12. For a thorough discussion of the film, See André Bazin’s groundbreaking study, What is Cinema? Essays Selected and Translated by Hugh Grey (Berkeley, CA: University of California Press, 1972), 60. 13. See especially Millicent Marcus’s study on the argument: Italian Film in the Light of Neorealism (Princeton, NJ: Princeton University Press, 1986). 234 NOTES

14. For more detailed information on Antonioni and his films, see The Architecture of Vision, Writings and Interviews on Cinema by , ed. M. Cottino- Jones, 2nd ed. (Chicago: University of Chicago Press, 2007). 15. For a more exhaustive discussion of De Santis and his films, see Antonio Vitti’s and Postwar Italian Cinema (Toronto: University of Toronto Press, 1996). Vitti’s study of Riso amaro is available also in G. Bertellini’s The Cinema of Italy (London: Wallflower, 2004), 53–62. 16. As Noel Carroll has noticed in his essay, “Film, Emotion, and Genre,” in Passionate Views: Film, Cognition, and Emotion, ed. Karl Plantinga and Greg M. Smith (Baltimore, MD: Johns Hopkins University Press, 1990), 21–47.

Chapter 5

1. For more historical information about Italy, see Carlo Celli’s and M. Cottino-Jones’s New Guide to Italian Cinema (New York: Palgrave Macmillan, 2007). 2. According to the term used by De Sica in Altri tempi, to describe physically well- endowed women like Gina Lollobrigida. 3. I am thinking of his Europa ’51 and La paura. 4. In Antonioni’s early film, La signora senza camelie (1953), where he cast again in the female protagonist’s role Lucia Bosè, as he had done for Cronaca di un amore, the protagonist is a woman who uses her beauty and seductiveness to become a success- ful film actress. In this film, women’s frailty and dependency on men are emphasized rather than their potential for becoming independent individuals. This representa- tion is repeated and multiplied in Tra donne sole (The Girlfriends; 1955), where several women are shown again as victims of their own frailty and emotional dependence on men. 5. In this role, Antonioni cast a very popular Italian actress, , who had just played the protagonist’s role in Visconti’s Senso and had again displayed her potential as a very successful diva of Italian cinema, as she had often displayed from the 1930s on. 6. For an enlightening discussion of Anna Magnani as an exceptional diva, see Millicent Marcus’s chapter titled “’s Bellissima: The Diva, the Mirror, and the Screen,” in her latest book, After Fellini: in the Postmodern Age (Balti- more, MD: Johns Hopkins University Press, 2002), 39–58. 7. As quoted from his “Letter to a Marxist Critic,” published in , ed. Peter Bon- danella and Manuela Gieri (New Brunswick, NJ: Rutgers University Press, 1987), 211–14. 8. This axiom was formulated first in contemporary feminist criticism by Kate Millet in her book Sexual Politics (New York: Doubleday, 1970). 9. Peter Bondanella, The Cinema of (Princeton, NJ: Princeton University Press, 1992), 213. 10. Ibid. 11. Fellini, “Letter to a Marxist Critic,” 121–22. 12. In Bondanella and Gieri, eds., La strada, 217. 13. A dissolve is a transitional device for connecting shots by combining the fade-out of an outgoing shot with the fade-in of an incoming one. 14. As explained by Paola Melchiori in her essay “Women’s Cinema: A Look at Female Identity,” in Off-Screen: Women and film in Italy, ed. G. Bruno (London: Routledge, 1988), 25–35. NOTES 235

15. Fellini, “Letter to a Marxist Critic,” 218. 16. See A. Aprà’s Raffaello Matarazzo (Savona, Italy: Quaderno del Noire Club, 1976). 17. See Ruby Rich’s “In the Name of Feminist Film Criticism,” in Issues in Feminist Film Criticism, ed. Patricia Erens (Bloomington, IN: Indiana University Press, 1990), 268–87. 18. Sordi is the phenomenal comic actor whose career has spanned several decades of Ital- ian cinema, well into the 1990s, and has been constantly considered the king of Italian comedy. 19. Rich, “In the Name of Feminist Film Criticism,” 282.

Chapter 6

1. Here, let us briefly summarize some of the main characteristics of human behavior according to patriarchy: masculine behavior is codified as direct, commanding, and physically powerful. It is also characterized by the holding of the gaze and the master- ing of desire, voice, and language. Through gaze and language control, men usually control the space around them. Women’s behavior, instead, is codified as reserved, submissive, and physically weak. Woman is thus projected as the object of the male’s gaze and desire; thus, she is hardly the holder of the gaze or the controller of space. She is also usually devoid of voice or control. 2. For a thorough discussion of the use of veiling in connection with femininity, see Mary Ann Doane’s chapter “Veiling over Desire: Close-ups of the Woman” in her book: Femmes Fatales: Feminisms, Film Theory, and Psychoanalysis (London: Rout- ledge, 1991), 44–75. 3. This handling of Silvia in this film reminds us of Laura Mulvey’s discussion of women’s representation in traditional films in her “Visual Pleasure and Narrative Cinema,” in Visual and Other Pleasures (Bloomington, IN: Indiana University Press, 1984), 14–26. “The film opens with the woman as object of the combined gaze of spectators and all the male protagonists in the film. She is isolated, glamorous, sexualized. But as the narrative progresses she falls in love with the main male protagonist and becomes his property, losing her outward glamorous characteristics, her generalized sexuality, her show-girl connotations; her eroticism is subjected to the male star alone” (21). 4. Teresa De Lauretis, “Fellini 9 ?,” in Technologies of Gender, Essays on Theory, Film, and Fiction (Bloomington, IN: Indiana University Press, 1987), 95–106. 5. That is, literal doubling: Suzy, the high class prostitute living next door to Juliet, and Fanny, the circus beauty with whom Juliet’s grandfather runs away, are played by the same actress ; pairing by similarity: the two maids, the little twin girls, younger sister and mother; or pairing by contrast: Juliet and the sisters/mother; Juliet and Suzy; Juliet and Fanny); and so on. 6. De Lauretis, “Fellini’s 9 ?,” 104. 7. See “The Long Interview, Tullio Kezich and Federico Fellini” in Federico Fellini’s New Masterpiece, , ed. T. Kezich (New York: Ballantine Books, 1965), 17–64. 8. As clearly analyzed by Paola Melchiori in her “Women’s Cinema: A Look at Female Identity,” in Off-Screen: Women and Film in Italy, ed. Giuliana Bruno and Maria Nadotti (London: Routledge, 1988), 31. 9. In Antonioni’s early film, La signora senza camelie (1953), where he cast again in the female protagonist’s role Lucia Bosè as he had done for Cronaca di un amore, the pro- tagonist is a woman who uses her beauty and seductiveness to become a successful 236 NOTES

film actress. In this film, women’s frailty and dependency on men are emphasized rather than their potential for becoming independent individuals. This representa- tion is repeated and multiplied in Tra donne sole (The Girlfriends; 1955), where several women are shown again as victims of their own frailty and emotional dependence on men. 10. In M. Cottino-Jones, ed., Michelangelo Antonioni: The Architecture of Vision: Writings & Interviews on Cinema by Michelangelo Antonioni (Chicago: University of Chicago Press, 2007), 270. 11. Carlo Biarese and Aldo Tassone, I film di Michelangelo Antonioni (Roma, Italy: Gremese, 1985), 45. 12. Judith Mayne, The Woman at the Keyhole: Feminism and Women’s Cinema (Blooming- ton, IN: Indiana University Press, 1982), 17. 13. So that, in De Lauretis’s words, “the look of the camera, the look of the spectator and the look of each character within the film intersect in a complex system which struc- tures vision and meaning,” and in so doing “governs its representation of woman.” De Lauretis, Alice Doesn’t, Feminism, Semiotics, Cinema (Bloomington, IN: Indiana University Press, 1984), 138. 14. Ibid., 140. 15. Next to , who by now had achieved international stardom, Antonioni cast the very popular French actor in Piero’s role. This couple of greatly admired and very sensitive performers brought great luster to the film. Antonioni had already applied another winning formula in his earlier film , the second film of his Trilogy of Solitude, by casting the Italian divo as the male protagonist and a very respected French diva, , as the female protago- nist, while Monica Vitti was cast in a supportive role. In Il deserto rosso, he again cast Monica Vitti as the female protagonist, Giuliana, but his choice for the male protago- nists of the film was limited to little-known Italian and foreign actors, such as Carlo Chionetti as Ugo, her husband, and as Corrado, Ugo’s friend. 16. For a more exhaustive consideration on Antonioni’s filmmaking activity, see the American edition of the collection of critical essays edited by M. Cottino-Jones: Michelangelo Antonioni: The Architecture of Vision: Writings & Interviews on Cinema by Michelangelo Antonioni (Chicago: University of Chicago Press, 2007). 17. In this film, Anna Magnani plays the protagonist’s role as a Roman mother painfully suffering from the early demise and death of her only son. 18. La ciociara means a woman from Ciociaria, an Italian region close to . 19. For this film, Visconti chose a powerful group of popular national and foreign divi and dive that helped in making the film a great success. Burt Lancaster played the prince, the Leopard of the title, while Alain Delon was irresistible as the handsome Tancredi. For the female characters, was perfectly cast as the coarsely beauti- ful Angelica, while the former stage diva Rina Morelli played a very convincing, reli- gious, and emotionally frail princess. 20. By law, in Italy, at that time, a pregnant woman could not be jailed as jail was not viewed as an appropriate place to raise children. 21. For a more thorough discussion of this topic, see Enrico Giacovelli’s La commedia all’italiana (Rome, Italy: Gremese, 1990), or Jean A. Gili’s Arrivano : I volti della commedia italiana (, Italy: Cappelli, 1980). 22. Divorce only became legal in Italy in 1974, when a popular referendum upheld the divorce law passed by the Parliament in 1970. In 1975, a new family law was passed that offered the opportunity for women to improve their position in the family as NOTES 237

daughters, wives, and mothers. It was not until 1981 that a similar referendum upheld the abortion law of 1978. 23. As Ruby Rich has suggested in his article “In the Name of Feminist Film Criticism,” in Issues in Feminist Film Criticism, ed. P. Erens (Bloomington, IN: Indiana University Press, 1990), 268–87. 24. As she states in “Visual Pleasure in Narrative Cinema,” in Visual and Other Pleasures Bloomington, IN: Indiana University Press, 1989), 14–26. 25. Indeed, they all intend to take advantage of another Italian law that binds a woman in marriage to any man who kidnaps her. 26. Rich, “In the Name of Feminist Film Criticism,” 282.

Chapter 7

1. The most important Italian feminist organization, l’Unione delle Donne Italiane UDI (The Union of Italian Women), was founded immediately after World War II within the framework of the political Left, with the main goal to fight for better conditions of life for women, regardless of their political affiliation. Most of the other feminist groups came into being in the 1970s, such as the Rivolta Femminile group in Rome and Milan (February 1970), the Lotta Femminista Collectives in Padua and Milan (March 1970), the Movimento di Liberazione della donna (MLD; May 1970), the Fronte Italiano per la Liberazione Femminile (FILF; 1971), and the Movimento Femminista Romano (MFR; 1972). In 1973 and 1974, special self-help groups, practice of the unconscious groups, and feminist groups for women’s health were set up all over Italy. 2. In Morte a Venezia, the film Visconti made just before the two aforementioned ones, no woman plays a significant role, even if the young boy who is the center of the atten- tion of Professor Aschenbach, the male protagonist of the film, is often seen with his younger sisters, his governess, and his mother. This mother figure, although played by the well-known diva , is neither framed in close-up shots nor given an effective voice. The few times we hear her, she speaks an unknown language. Fur- thermore, most of the time she is obscured by her attire, such as large hats with veils that cover her to the neck hiding her face and facial expressions. 3. For this film, Visconti assembled another imposing group of Italian and foreign divi, starting with Silvana Mangano in the Marchioness’s role, Burt Lancaster in the profes- sor’s, and Helmet Berger in Konrad’s. 4. Also for this film, Visconti’s selection of actors was very impressive: for the protag- onist’s role, he chose one of the most popular Italian divi of the 1970s, ; for the two main women protagonists, he cast the beautiful foreign diva Jennifer O’Neil as Teresa Ruffo, Tullio’s lover, and the gorgeous Italian diva in Giuliana’s role, as Tullio’s wife. 5. See René Girard’s study, Deceit, Desire, and the Novel (Baltimore, MD: Johns Hopkins University Press, 1965). 6. Indeed in 1972, one year after Pasolini’s Decameron was released, we find on the mar- ket five such films by different directors: Decameron n.2 by M. Guerrini, Decameron 300 by M. Stefani, Decameron nero by F. Martinelli, and two very explicit pornographic renditions, one by the same Martinelli called Decameron proibitissimo and one by P. G. Ferretti called Decameroticus. 7. In both these films, Bertolucci made sure to cast well-known Italian and foreign divi and dive to ensure the popular success of the films: In Il conformista, he cast the French 238 NOTES

divo Jean-Louis Trintignant as the protagonist, Marcello Clerici, and two very popu- lar dive in the female protagonists’ roles: as Giulia, Marcello’s wife, and as Anna Quadri. Bertolucci will cast the same actresses also in Novecento: Stefania Sandrelli as Anita, Olmo’s wife, and Dominique Sanda as Ada, Alfredo’s wife, together with as a superb Regina, while for four of the main male actors, Bertolucci resorts again to foreign divi, such as Gerard Depardieu for Olmo, for Alfredo, Donald Sutherland for Attila, and Burt Lancaster for Alfredo’s grandfather. 8. Interesting examples of critical consideration of Wertmüller’s production are the fol- lowing: D. Grossvogel, “Lina Wertmüller and the Failure of Criticism,” Yale Italian Studies 1 (Spring 1976): 171–83; and E. Servi Burgess, “Towards a Popular Feminist Cinema,” Women and Film 1, nos. 5–6 (1974): 6–10. 9. Wertmüller casts practically always the same actor and actress as the male and female protagonists of her films: Giancarlo Giannini and , who owe to her their success as Italian stars. 10. See Millicent Marcus’s chapter titled “Wertmüller’s Love and Anarchy: The High Price of Commitment,” in her book Italian Film in the Light of Neorealism (Princeton, NJ: Princeton University Press, 1986), 313–58. 11. Probably Scola’s Passione d’amore (Fosca) is the only Italian film that handles with great sensitivity the representation of an ugly woman. 12. For an exhaustive study of Cavani’s work, see Gaetana Marrone Puglia’s book, The Gaze and the Labyrinth: The Cinema of (Princeton, NJ: Princeton Uni- versity Press, 2000). 13. For her films, Cavani, as most Italian directors have done, usually casts an impressive group of popular Italian and foreign dive and divi, such as as Max, Char- lotte Rampling as Lucia, and and in supportive roles for Portiere di notte. 14. As noticed by Scott L. Montgomery in his essay, “What Kind of Memory? Reflections on Images of the Holocaust,” in Contention: Debates on Society, Culture and Science 5, no. 1 (1995): 79–103. 15. This reading of Portiere di notte, is an elaboration of my short commentary to the pre- viously quoted Montgomery essay, also published in Contention: Debates on Society, Culture and Science 5, no. 1 (1995): 105–11. 16. See Montgomery, “What Kind of Memory?” 17. As quoted in ibid., 16–17. 18. Ibid. 19. This expression is used by Scott L. Montgomery, quoted previously, about “the fascina- tion that contemporary society has with ‘kitsch’ that is, the neutralization of extreme situations, particularly death, by turning them into sentimental idyll.” 20. This film is known in English under two different titles: Beyond Obsession and Beyond the Door. 21. Cavani’s choice of actors for this film includes the Italian divo, Marcello Mastroianni for Enrico, the male protagonist; the less well-known Italian actress Eleanora Giorgi for Nina, the female protagonist; and the foreign actor Tom Berenger, for Matthew. 22. This complex combination of perverted love and romantic cover-up so expertly dis- played in gender relationships by the protagonists of Cavani’s films seems to be shared also by a black comedy that was released at approximately the same time, Profumo di donna (The Scent of a Woman; 1975) by . This film deals, in a much simpler NOTES 239

way, with a type of sexual power game between , which better fits the patriarchal view of heterosexual relationships (the male character representing one extreme of selfish, authoritarian love and the female character representing the self- sacrificing, romanticized type of loving dedication). 23. In this film, Germi cast a popular American divo like Dustin Hoffman in the male protagonist’s role next to one of the best Italian diva of the times, Stefania Sandrelli, who plaid the role of Mariarosa. 24. In this role, Monicelli cast a very popular divo, , another icon of Italian sexy masculinity, hardly ever seen in a comedy film, thus adding to the suspenseful mood of the story. 25. For two of his male protagonists, Scola chose important Italian divi like in the role of Gianni and as Antonio, and he even cast the still very popular in the supportive role of Gianni’s father-in-law. The lesser- known actor, , played Nicola. Vittorio De Sica, Federico Fellini, and Marcello Mastroianni play themselves in short cameo roles in this film, which pays tribute to the neorealism movement and to Italian cinema in general. 26. Scola chose equally important Italian dive to play the female protagonist role in the film: Stefania Sandrelli played Luciana, and played Elide.

Chapter 8

1. From the Italian word tangenti, which means “bribes.” 2. Some of the most important of these centers were Centro documentazione e studi sul Femminismo (Feminist Resources and Study Center), Rome, 1978; Centro Docu- mentazione Donna (Women’s Resource Center), Pisa 1982; and Centro di documen- tazione sulla salute delle donne Simonetta Tosi (Simonetta Tosi Center for Women’s Health), Torino, 1985. 3. A few of the new groups founded in the 1980s are the following: Phoenix (Milan, 1981); Linea Lesbica (Florence, 1981); and CLI, or Coordinamento Lesbiche Italiane (Union of Italian Lesbians), , 1981. Some of the most important conferences that took place in these decades were the International Conference on Lesbianism (Turin, April 1981) and the First National Conference of Feminist Lesbians (Rome, June 1981)—the second conference took place in Rome in December 1981 and practically every other year after that. For more specific information on Italian women’s groups and organizations, see the work edited by Paola Bono and Sandra Kemp, Italian Femi- nist Thought: A Reader (Oxford: Basil Blackwell, 1991). 4. As Yvonne Rainer suggests in her “Some Ruminations around Cinematic Antidotes to the Oedipal; Net (les) while Playing with DeLauraedipus Mulvey, or He May Be Off Screen, but . . . ,” Independent (1986): 20–27. 5. Tania Modleski, The Women Who Knew Too Much: Hitchcock and Feminist Theory (New York: Methuen, 1988), 61. 6. As Ruby Rich has suggested in “In the Name of Feminist Film Criticism,” in Issues in Feminist Film Criticism, ed. Patricia Erens (Bloomington, IN: Indiana University Press, 1990), 268–87. 7. It seems normal to ask such a question, even if Antonioni has often denied such a pos- sibility. See his reply to such a question in the interview called “il metodo,” published in the collection of interviews with Antonioni, Fare un film é per me vivere, Scritti sul cinema, eds. C. Di Carlo and G. Tinazzi (Venezia, Italy: Marsilio, 1994), 326. 240 NOTES

8. And especially, as we have noticed in Chapter 6, at the end of L’eclissi, where, just as the male protagonist is not on the screen, neither is the woman. 9. In both Portiere di notte and Al di là del bene e del male, as we have seen in Chapter 7. 10. The section dedicated to Monica Vitti in this chapter is a brief elaboration of my essay “Monica Vitti: The Image and the Word,” in from the Renaissance to Our Times, ed. M. Marotti (Minneapolis, MN: University of Minnesota Press, 1996), 315–56. 11. As Vitti herself explains in an interview with a journalist of the magazine Bianco e Nero. 12. As according to Rich, “In the Name of Feminist Film Criticism,” 282. 13. I want to take this opportunity to thank Monica Vitti for providing me with the scripts of these three films and a videocassette of Scandalo segreto and for her cordial encour- agement of my scholarly undertaking. 14. Giuliana Bruno and Maria Nadotti, ed., Off-Screen: Women and Film in Italy (London: Routledge, 1988), xii. 15. As T. De Lauretis comments in her Technologies of Gender: Essays on Theory, Film, and Fiction (Bloomington, IN: Indiana University Press, 1987), 114. 16. Ibid. 17. Ibid. 18. As quoted in L. Delli Colli’s book, Monica Vitti (Rome, Italy: Gremese, 1987), 41. 19. In this conscious manipulation of desire, the text addresses its spectators in a contra- dictory way, as it does not “repel (the) woman’s gaze . . . or (the) feminist understand- ing of the female subject’s history, of . . . contradiction and self-subverting coherence.” De Lauretis, Technologies of Gender, 124. 20. Flirt, script by Monica Vitti and Roberto Russo, 225. 21. Introduction to Bruno’s Off-Screen, 13. 22. In her book Alice Doesn’t: Feminism, Semiotics, Cinema (Bloomington, IN: Indiana University Press, 1984), 155. 23. In her two chapters “The of the Maternal Voice: Paranoia and Compensation” and “The Fantasy of the Maternal Voice: Female subjectivity and the Negative Oedi- pus Complex,” in The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema (Bloomington, IN: Indiana University Press, 1988), 72–140. 24. Ibid., 75. 25. See Jacques Lacan, Ecrits: A Selection (New York: W. W. Norton, 1977), 1–7. 26. Ibid. 27. From the script Francesca è mia, 150–51. 28. Ibid. 29. Ibid. 30. See the chapter “The Fantasy of the Maternal Voice: Female Subjectivity and the Nega- tive Oedipus Complex” in The Acoustic Mirror, 101–40. 31. From the script Francesca è mia, 150–51. 32. For a very clear discussion of the Lacanian theory of the imaginary as applicable to film criticism, see R. Stam, R. Burgoyne, and S. Flitterman-Lewis, New Vocabularies in Film Semiotics: Structuralism, Post-Structuralism, and Beyond (London: Routledge, 1992). 33. Also for this film, Monica is responsible, together with Roberto Russo, for the sub- ject and the script, while all dialogues were rewritten by her to conform to the film direction, thus introducing several important changes and elisions. One of the most important is the elimination of the romantic ending that involved Margherita and her friend, Tony. 34. Bruno, Off-Screen, 10. NOTES 241

35. De Lauretis, Technologies of Gender, 114. 36. Yvonne Rainer speaks of narrative strategies to be consciously deployed by feminist films in order to disrupt cinematic narrative, and suggests specifically changing the “glossy surface and homogeneous look of ‘professional cinematography by means of optically degenerated shots, refilming, blown-up 8 and video transfers.” Yvonne Rainer, “Some Ruminations,” 20–27. 37. Ibid. 38. From Scandalo segreto, dialogues by Monica Vitti, 53. 39. Ibid., 62. 40. Ibid. 41. Ibid., 71 42. As Giulia Alberti calls it in her “Conditions of Illusion,” in Off-Screen. 43. Ibid., 86. 44. The other scene is the one where Tony and his assistants are framed in their trailer while filming Margherita’s last attempt to turn off the video camera that they control. This scene for the first time reveals to the spectators who is actually in control of Mar- gherita’s video camera. 45. De Lauretis, Technologies of Gender, 114. 46. Rainer, “Some Ruminations.” 47. I would like to take this opportunity to thank also Maurizio Nichetti for having kindly provided me with the videocassettes of all his films as soon as he heard that I could not find them here in California. 48. Rainer, “Some Ruminations.” 49. Paola Melchiori calls it in “A Look at Female Identity,” in Off-Screen, 25–35. 50. As discussed in Giulia Alberti’s “Conditions of Illusion,” in Off-Screen, 36–54. 51. Rainer, “Some Ruminations.”

Chapter 9

1. As Giulia Alberti has suggested for women to do in order to become subjects on their own, in her “Conditions of Illusion,” in Off-Screen: Women and Film in Italy, ed. Giu- liana Bruno and Maria Nadotti (London: Routledge, 1988), 47. 2. For an exhaustive study of Benigni and his films, see Carlo Celli’s important book The Divine Comic: The Cinema of New York: Scarecrow, 2001). 3. Robin Wood, “Images and Women,” in Issues in Feminist Film Criticism, ed. Patricia Erens (Bloomington, IN: Indiana University Press, 1990), 340. 4. As suggested by Alberti in “Conditions of Illusion,” 46–47. 5. As suggested by Alberti in ibid., 47 6. Troisi died the day after filming was completed. 7. As suggested by Alberti in “Conditions of Illusion,” 46–47. 8. Wood, “Images and Women,” 340. 9. In Teresa De Lauretis, Technologies of Gender: Essays on Theory, Film, and Fiction (Bloomington, IN: Indiana University Press, 1987), 121. 242 NOTES

Conclusion

1. As Giulia Alberti has explained in her “Conditions of Illusion,” in Off-Screen, Women and Film in Italy, ed. Giuliana Bruno and Maria Nadotti (London: Routledge, 1988), 36–54. 2. For more information on this topic, consult Kathi Weeks, Constituting Feminist Sub- jects (Ithaca, NY: Cornell University Press, 1998). 3. See Ann Brooks, Postfeminism: Feminism, Cultural Theory, and Cultural Forms (Lon- don: Routledge, 1997), 174. Selected Bibliography

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Accattone (!; 1961; Pasolini), 4, caduta degli dei, La (The Damned, 1969; 106, 126–27, 130, 138, 149 Visconti), 4, 106, 129–30, 138, 145, Age of the Medici, The (1972; Rossellini), 146 81 Casablanca (1942; Curtiz), 193 Albero delle pere (The Pear Tree; 1998; casanova di Federico Fellini, Il (Fellini’s Archibugi), 5, 219, 220 Casanova; 1976; Fellini), 119, 155, Al di là del bene e del male (Beyond Good and 177–78 Evil; 1972; Cavani), 172–73, 186, 240 Catene (Chains; 1950; Matarazzo), 100 Alfredo, Alfredo (Alfredo, Alfredo; 1972; Cenere (Ashes; 1916; Mari), 9, 33–34, 35 Germi), 131, 173–75, 185, 186 C’eravamo tanto amati (We All Loved Each Altri tempi (Other Times; 1951; Blasetti), Other So Much; 1974; Scola), 5, 67, 234 158, 179, 185, 186 Amore mio, aiutami! (Help Me, My Love!; Chiarina, la modista (Little Claire, the 1969; Scola), 137, 138, 196 Milliner; 1919; Notari), 42 Angelo bianco (White Angel; 1955; Ciociara, La (; 1961; De Sica), Matarazzo), 100 8, 106, 130, 138, 143 Assunta Spina (1915; Serena), 6, 20, 29–30, città delle Donne, La (; 35 1980; Fellini), 188–91, 192, 194, 210 Assunta Spina (1948; Mattoli), 3, 64–65 conformista, Il (The Conformist; 1972; L’avventura (The Adventure; 1959; Bertolucci), 125, 150–53, 185, 239n Antonioni), 3, 76, 119–21, 122, 124, Con gli occhi chiusi (With closed eyes; 125, 196 1994; Archibugi), 220 Cronaca di un amore (Story of a Love bambini ci guardano, I (The Children Are Affair; 1950; Antonioni), 54, 70–71, Watching Us; 1942; De Sica), 3, 4, 35, 74, 234, 235 47–49, 51, 67, 143, 145, 220, 232 Bellissima (Very Beautiful; 1951; Visconti), Decameron, Il (The Decameron; 1971; 4, 76, 84, 86, 104, 233, 234 Pasolini), 126, 149–50, 237 Blow-Up (Blowup; 1966; Antonioni), 119, Decameron n.2 (1972; Guerrini), 237 124 Decameron nero (1972; Martinelli), 237 Bravissimo (Very Good; 1955; D’Amico), Decameron proibitissimo (1972; 103 Martinelli), 237 breve vacanza, Una (A Brief Vacation; Decameron 300 (1972; Stefani), 237 1973; De Sica), 4, 5, 9, 10, 78, 142, 143, Decameroticus (1972; Ferretti), 237 144–45, 185 deserto rosso, Il (Red Desert; 1964; Antonioni), 5, 106, 122–25, 130, 138, Cabiria (1914; Pastrone), 8, 11–18, 39, 40 162, 196 Caccia Tragica (The Tragic Hunt; 1946; De Desiderio (Desire; 1943; Rossellini), 49, Santis), 72 50, 51 248 INDEX OF FILMS

Divorzio all’italiana (; Grido, Il (The Cry; 1957; Antonioni), 76, 1961; Germi), 131–34, 138, 142, 164, 81–83, 104, 122, 124 174, 175 Gruppo di famiglia in un interno dolce vita, La (La Dolce Vita; 1959; Fellini), (Conversation Piece; 1974; Visconti), 4, 3, 4, 81, 88, 106–16, 119, 130, 139 141, 145–46, 185, 220

L’eclissi (Eclipse; 1962; Antonioni), 119, Identificazione di una donna (Identification 121, 122, 125, 130, 138, 192, 196, 240 of a Woman; 1982; Antonioni), Edipo re (Oedipus Rex; 1967; Pasolini), 140 191–92, 125, 209 Ettore Fieramosca (Ettore Fieramosca; 1938; Ieri, oggi, domani (Yesterday, Today, and Blasetti), 9, 38, 41–42, 51 Tomorrow; 1964; De Sica), 104, Europa ’51 (No Greater Love; 1950; 130–31, 138 Rossellini), 4, 76, 79–80, 104, 234 India (1958; Rossellini), 81 L’innocente (The Innocent; 1975; Visconti), La famiglia (The family; 1987; Scola), 184 4, 142, 145, 146–49, 185, 207 Fatto di sangue . . . (Blood Feud; 1978; Interno berlinese (The Berlin Affair; 1985; Wertmüller), 10, 160, 167–68, 169, Cavani), 188, 194–96 185 Io ballo da sola (; 1996; figli di nessuno, I (Nobody’s Children; 1951; Bertolucci), 150 Matarazzo), 100–101, 104 Film d’amore e anarchia (Love and Johnny Stecchino (Johnny Stecchino; 1991; Anarchy; 1973; Wertmüller), 158, Benigni), 5, 211–13, 214 160–62, 167, 168, 169, 185, 186, 213, 232 Ladri di biciclette (The Bicycle Thief; 1948; Flirt (1983; Vitti), 195, 196, 197–98, 240 De Sica), 4, 54, 66, 67–69, 73, 208, 233 fortuna di essere donna, La (Lucky to Be a Ladri di saponette (The Icicle Thieves; 1989; Woman; 1955; Blasetti), 103 Nichetti), 5, 208–9, 210, 214 Francesca è mia (Francesca Is Mine; 1986; Louis XIV (1966; Rossellini), 81 Vitti), 195, 196, 197, 198–202, 210, Luna e l’altra (Luna and The Other; 1996; 240 Nichetti), 5, 214, 215–16 fuoco, Il (The Fire; 1915; Pastrone), 8, 20, 23–26, 31, 35 Maciste (Marvelous Maciste; 1915; Pastrone), 230 gattopardo, Il (The Leopard; 1963; Maciste all’inferno (Maciste in Hell; 1925; Visconti), 4, 128–29, 130, 149 Brignone), 230 generale Della Rovere, Il (General della Maciste alpino (Maciste in the Alps; 1916; Rovere; 1960; Rossellini), 81 Pastrone), 230 giardino dei Finzi-Contini, Il (TheGarden Maciste innamorato (Maciste in love; 1919; of the Finzi-Contini; 1970; De Sica), Borgnetto), 230 143–44, 185 Maciste nella gabbia dei leoni (Maciste in giornata particolare, Una (A Special Day; the lion’s cage, 1926; Brignone), 230 1977; Scola), 157–58, 179, 182, 185, Maciste poliziotto (Maciste in the police 232 force; 1918; Roberto), 230 Giovanna d’Arco (Joan of Arc; 1954; Maciste Salvato dalle acque (Maciste Rossellini), 81 rescued from the waters; 1921; Giulietta degli spiriti (Juliet of the Spirits; Borgnetto), 230 1965; Fellini), 4, 5, 81, 106, 116–19, Mafioso (Mafioso; 1962; Lattuada), 103 122, 130, 137, 138 Ma l’amor mio non muore (Love grandi magazzini, I (Department Store; Everlasting; 1913; Caserini), 20, 21–23, 1939; Camerini), 4, 38, 42, 45–46, 51 31 INDEX OF FILMS 249

Mamma Roma (Mother Rome; 1962; Paisà (; 1946; Rossellini), 54, 59–62, Pasolini), 126 74 Matrimoni (Marriages; 1998; C. Pane, amore e . . . (Bread, Love, and . . . ; Comencini), 5, 221, 222–23 1955; Risi), 102–3, 104 Medea (Medea; 1969; Pasolini), 149 Pane, amore e fantasia (Bread, Love and (1991; Salvatores), 218–19 Dreams; 1954; Camerini), 102 Messiah, The (1975; Rossellini), 81 Pane, amore e gelosia (Bread, Love, and Mignon è partita (Mignon Has Come to Jealousy; 1954; Camerini), 102 Stay; 1988; Archibugi), 4, 5, 206–7, Pasqualino settebellezze (Seven Beauties; 209, 220 1975; Wertmüller), 158, 164–67, 169, mille e una notte, Le (The Arabian Nights; 186 1973; Pasolini), 149, 150 Passione d’amore (Passion of Love; 1981; Mimi metallurgico (; Scola), 179, 184–85, 238 1971; Wertmüller), 158, 159, 165 paura, La (Fear; 1954; Rossellini), 80, 234 Mio dio come sono caduta in basso! Peccato che sia una canaglia (Too Bad She’s (Untill Marriage Do Us Part; 1974; L. Bad; 1954; Blasetti), 103 Comencini), 4, 175–79, 185 più bel giorno della mia vita, Il (The Best Miracolo, Il (The Miracle; 1948; Rossellini), Day of My Life, 2002; C. Comencini), 5, 50, 62, 63–64, 78 5, 221, 223–24 Miracolo a Milano (; 1951; portiere di notte, Il (; 1974; De Sica), 67, 69 Cavani), 169–72, 173, 194, 195, 196, Morte a Venezia (Death in ; 1971; 238, 240 Visconti), 145, 149, 237 postino, Il (The Postman; 1994; Troisi), mostro, Il (The Monster; 1994; Benigni), 5, 216–17 211, 213, 214 Professione Reporter (The Passenger; 1975; mostri, I (The monsters; 1963; Risi), 211 Antonioni), 125 Profumo di donna (The Scent of a Woman; Noi donne siamo fatte cosi (This is the way 1975; Risi), 238 we, women, are; 1971; Risi), 196 Non c’è pace fra gli ulivi (No Peace under Quo vadis? (Where are you going?; 1913; the Olive Tree; 1950; De Santis), 72 Guazzoni), 11 notte, La (The Night [UK]; 1960; Antonioni, 106, 119, 121–22, 124, Racconti di Canterbury (The Canterbury 130 Tales; 1972; Pasolini), 130, 149 notti di Cabiria, Le (; ragazza con la pistola, La (The Girl with 1957; Fellini), 76, 87, 92–100, 104, a Gun; 1968; Monicelli), 5, 136–37, 106, 116, 160 138, 196 Novecento (1900; 1976; Bertolucci), 125, Riso amaro (; 1949; De Santis), 150, 153, 157, 185, 238 54, 71–74 nuovi mostri, I (The New Monsters; 1977; Rocco e I suoi fratelli (Rocco and His Scola), 179, 182–84 Brothers; 1960; Visconti), 3, 4, 76, 84, Nuovo (Cinema Paradiso; 86–87, 104, 146 1988; Tornatore), 209, 216 Roma città aperta (Open City; 1945; Rossellini), 54–59, 62, 73, 74, 213 L’onorevole Angelina (Angelina: Member of Parliament; 1947; Zampa), 4, 66, 74 Saló, o le 120 giornate di Sodoma (Salo, L’oro di Napoli (The Gold of ; 1954), or the 120 Days of Sodom; 1975; 103 Pasolini), 150 (Obsession; 1943; Visconti), Scandalo segreto (Secret Scandal; 1992; Vitti), 49–50, 51, 71, 84, 85, 87, 149 195, 196, 197, 202–6, 210, 240, 241 250 INDEX OF FILMS scapolo, Lo (The Bachelor; 1955; Tormento (Torment; 1952; Matarazzo), Pietrangeli), 103 100 Scipione l’Africano (; 1937; Tra donne sole (The Girlfriends; 1955; Gallone), 38, 39–41, 51 Antonioni), 234 Sciuscià (Shoeshine; 1946; De Sica), 67 Travolti da un insolito destino . . . (Swept Sedotta e abbandonata (Seduced and Away . . . ; 1974; Wertmüller), 142, Abandoned; 1963; Germi), 4, 5, 131, 158, 162–64, 168, 186 134–36, 138, 164, 173 Trilogy of Solitude (Antonioni), 119 segretaria privata, La (The Private Secretary; 1931; Alessandrini), 4, 38, ultimi giorni di Pompei, Gli (The Last Days 42, 43 of Pompei; 1908; Caserini), 11, 12 Senso (Sensuality; 1951; Visconti), 84–85, Ultimo tango a Parigi (; 87, 104, 146, 149, 234 1972; Bertolucci), 150 Siamo donne (We, the Women; 1952; Umberto D. (1952; De Sica), 54, 67, 69–70, Franciolini and Guarini), 80 74 signora dalle camelie, La (The Lady of the uomini, che mascalzoni, Gli (What Camellias; 1915; Serena), 30, 31–33, 35 Scoundrels Men Are!; 1932; Camerini), Signora senza camelie, La (The Lady 38, 42, 43–44, 51 Without Camelias; 1953; Antonioni), 234, 235 Va’ dove ti porta il cuore (Follow Your Heart; Signor Max, Il (Mister Max; 1937; 1996; C. Comencini), 5, 221–22 Camerini), 38, 42, 44–45, 51 vangelo secondo San Matteo, Il (The Gospel Socrates (1970; Rossellini), 81 According to St. Matthew; 1964; Sotto . . . sotto (Beneath the surface; 1984; Pasolini), 149 Wertmüller), 188, 192–94, 210 Verso sera (Toward evening; 1990; Stanno tutti bene (Everybody’s Fine; 1990; Archibugi), 220 Tornatore), 218 Viaggio in Italia (Journal to Italy; 1952; strada, La (The Road; 1954; Fellini), 76, 87, Rossellini), 80 88–92, 104, 106, 116, 234 vita è bella, La (; 2000; Strategia del ragno (The Spider’s Strategy; Benigni), 213–14 1969; Bertolucci), 5, 125, 130, 150, 154 voce umana, Una (A human’s voice; 1947; Stromboli terra di Dio (Stromboli; 1949; Rossellini), 3, 50, 62–63, 83 Rossellini), 5, 76–79, 80, 104 Volere volare (To Want to Fly; 1991; Nichetti), 5, 214–15 terra trema, La (The Earth Trembles; 1948; Vortice (Vortex; 1954; Matarazzo), 100 Visconti), 54 Tigre reale (Royal Tigress; 1916; Pastrone), Who Framed Roger Rabbit (1988; 20, 23, 26–29, 31, 35 Zemeckis), 214 Index of Names and Topics

Note: Topics appear in bold.

abortion law and referendum, 142 Bertolucci, Bernardo, 5, 9, 79, 106, 125, Adenauer, Konrad, 75 126, 130, 142, 150, 152, 153, 154, 156, Age (Agenore Incrocci), 182 157, 169, 225, 237–38 Agonito, Rosemary, 228 Betti, Laura, 238 Aimèe, Anouk, 107 Bianchi, Pietro, 230 Alberoni, Francesco, 7 Bianco e Nero, 227, 240 Alberti, Giulia, 209, 216, 229, 241, 242 Biarese, Carlo, 236 Alessandrini, Goffredo, 38, 42, 43 Black Order, 187 Allasio, Marisa, 2 Blasetti, Alessandro, 38, 41, 103, 227 anni di piombo, gli (“the leaden years”), Boccaccio, Giovanni, 149, 150 141 Bogarde, Dirk, 238 Antonelli, Laura, 2, 147, 175, 237 Bogart, Humphrey, 193 Antonioni, Michelangelo, 2, 3, 5, 9, 54, 70, Bondanella, Peter, 233, 234 71, 76, 79, 81, 83, 104, 106, 119, 130, Bono, Paola, 239 137, 138, 162, 191, 192, 196, 197, 209, Borelli, Lyda, 2, 9, 20, 21 225, 234, 235, 237, 236, 239, 241 Borgnetto, Luigi Romano, 230 Aprà, Aldo, 235 Borsellino, Paolo, 187 Archibugi, Francesca, 4, 5, 9, 206, 211, 219, Bosé, Lucia, 2, 70, 72 220, 221, 224 Braudy, Leo, 227 Armes, Roy, 233 Brignone, Guido, 230 Brooks, Ann, 242 Bakhtin, Mikhail, 46, 232 Brooks, Peter, 233 Barthes, Roland, 26 Brunetta, Gian Piero, 229, 230, 232, 233 Basehart, Richard, 88 Brunette, Peter, 233 Bassani, Giorgio, 143 Bruno, Giuliana, 228, 232, 233, 234, 235, Bazin, André, 67, 233 240, 241, 242 Bellucci, Monica, 2 Burgin, Victor, 231 Benigni, Roberto, 2, 5, 9, 137, 211, 213, Burgoyne, R., 240 214, 216, 218, 241 Byars, Jackie, 228 Berenger, Tom, 238 Berger, Helmet, 237 Cain, James, 49, 50, 232, 233 Bergman, Ingrid, 2, 62, 77, 81, 193 Camerini, Mario, 38, 42, 43, 44, 45, 46, Bertellini, Giorgio, 233, 234 102, 103 Bertini, Francesca, 1, 2, 9, 20, 21, 29, 30, 31, Cardinale, Claudia, 2, 236 64, 230, 231 Carroll, Noel, 33, 34, 232 252 INDEX OF NAMES AND TOPICS

Caserini, Mario, 11, 20, 21 Doane, Mary Ann, 31, 230, 231, 235 Cavani, Liliana, 9, 10, 143, 169, 188, 192, documentary genre, 38 194, 195, 196, 209, 210, 238 Donizetti, Gaetano, 31 Celli, Carlo, 227, 229, 233, 234, 241 dramma passionale, 9, 19–20 Chaucer, Geoffrey, 130 dramma passionale films, 21–30 Chionetti, Carlo, 236 Duse, Eleonora, 1, 9, 34, 230 Chodorov, Nancy, 1, 227 Cocteau, Jean, 62 Eckberg, Anita, 107, 112 Cohen, Marshall, 227 Elsaesser, Thomas, 231 Cold War, 75 Erens, Patricia, 232, 235, 237, 239, 241 Colomina, Beatriz, 231 Colossals, 8, 11–12 Fabrizi, Aldo, 239 comedy-Italian-style, 131, 173 Falcone, Giovanni, 187 Comencini, Cristina, 4, 5, 9, 211, 220, 221, fascism, 37–38 222, 223, 224 Fellini, 2, 3, 4, 5, 9, 63, 70, 75, 79, 81, 87, 88, Comencini, Luigi, 5, 9, 131, 175, 179, 221 90, 92, 94, 99, 100, 104, 105, 106, 107, compromesso storico (historical 116, 117, 119, 130, 137, 138, 158, 160, compromise), 141 188, 190, 191, 192, 194, 209, 225, 233, Corinthians, 228 234, 235, 239 Corriere della sera, Il, 229 feminist activism, 142, 169–70, 188, Corrigan, Timothy, 7, 229 213–14, 239, 240, 241, 242 Cottino-Jones, Marga, 227, 229, 234, 236 Ferretti, P. G., 237 Craxi, Bettino, 187, 188 Flitterman-Lewis, S., 240 Cucinotta, Maria Grazia, 2, 217 forerunners of neorealism, 9, 47–51 Freud, Sigmund, 228 D’Amico, Luigi Filippo, 103 Furneaux, Yvonne, 107 D’Annunzio, Gabriele, 12, 19, 23, 146, 147, 149, 178, 230 Gallone, Carmine, 38 Dalla Chiesa, Carlo Alberto, 187 Garnett, Tay, 233 Decadentismo (Decadentist), 19, 20, 178 Gassman, Vittorio, 182, 239 De Gasperi, Alcide, 75 Germi, Pietro, 4, 5, 9, 131, 132, 134, 137, De Gaulle, Charles, 75 138, 142, 164, 173, 174, 175, 184, 239 Deledda, Grazia, 34 Giacovelli, Enrico, 236 De Lauretis, Teresa, 116, 120, 198, 202, 206, Giannini, Giancarlo, 2, 159, 160, 162, 237, 224, 227, 229, 235, 236, 240, 241 238 Del Colle, Ubaldo Maria, 100 Gieri, Manuela, 234 Delli Colli, Laura, 240 Gili, Jean A., 236 Delon, Alain, 236 Giorgi, Eleanora, 238 De Niro, Robert, 238 Girard, René, 146, 237 Depardieu, Gerard, 238 Girotti, Massimo, 84 De Santis, Giuseppe, 54, 71, 72, 73, 234 Gledhill, Christin, 1, 227, 228 De Sica, Vittorio, 2, 3, 4, 5, 9, 35, 44, 45, 47, Granger, Farley, 84 54, 66, 67, 70, 71, 102, 103, 106, 127, Griffith, David W., 230 128, 130, 138, 142, 143, 208, 220, 225, Grossvogel, David, 238 227, 232, 233, 234, 239 Guazzoni, Enrico, 11 Di Carlo, Carlo, 239 Guerrini, M., 237 Di Giacomo, Salvatore, 29 Dinnerstein, Dorothy, 229 Harris, Richard, 236 divismo (star idolatry), 1, 2–3, 6–7, 9, 20, 35 Hay, James, 232 divorce law and referendum, 142, 236 Heath, Stephen, 233 INDEX OF NAMES AND TOPICS 253 historical films, 9, 39–42 melodrama, 9, 30–31 Hoffman, Dustin, 239 melodrama films, 30–35, 100–102 Menichelli, Pina, 2, 9, 20, 21, 23, 26 Italy’s economic miracle, 75, 105, 133 Metastasio, Pietro, 30 Metz, Christian, 228 Joeres, Ruth-Ellen B., 227 Millet, Kate, 234 John Paul II (pope), 187 Miranda, Isa, 238 Modleski, Tania, 191, 239 Kaplan, E. Ann, 7, 8, 228, 233 Monicelli, Mario, 5, 9, 131, 136, 137, 138, Kemp, Sandra, 239 173, 179, 182, 196, 239 Kerr, Deborah, 229 Monteverdi, Claudio, 30 Kezich, Tullio, 235 Montgomery, Scott L., 171, 238 Kristeva, Julia, 170, 232 Moravia, Alberto, 150 Kuhn, Annette, 229 Moreau, Jeanne, 119, 236 Morelli, Rina, 236 Lacan, Jean, 228, 240 Moro, Aldo, 141 Lancaster, Burt, 236, 237, 238 motherhood, 33 Landy, Marcia, 227, 229, 232 Mozart, Wolfgang Amadeus, 170 Lange, Jessica, 233 Mulvey, Laura, 134, 196, 198, 227, 230, Laslett, Barbara, 227 235, 239 Lattuada, Alberto, 53, 103 musical melodramas, 30–31 Lawton, Ben, 233 Mussolini, Benito, 37, 38, 39, 40, 53, 160, LeRoy, Merryn, 229 232 “light comedy” films, 42–47 Lollobrigida, Gina, 2, 76, 102, 103, 227, Nadotti, Maria, 233, 235, 240, 241, 242 234 Nazzari, Amedeo, 92 Loren, Sofia, 2, 76, 103, 128, 130, 157, 167, neorealism, 9, 53–54, 67 239 “Neorealist Manifesto,” 53 Lumière, Louis, 3, 11 Neruda, Pablo, 216, 217 Nichetti, Maurizio, 5, 9, 137, 206, 208, 209, Maciste, 230, 232 211, 214, 215, 216, 218, 241 Magnani, Anna, 2, 30, 55, 62, 63, 64, 65, 66, Nicholson, Jack, 233 86, 233, 234, 236 Noris, Assia, 45 Manfredi, Nino, 2, 239 Notari, Elvira, 42, 232 Mangano, Silvana, 2, 72, 73, 76, 237 Nowell-Smith, Geoffrey, 233n Marcus, Millicent, 233, 234, 238 Marotti, Maria, 240 O’Neil, Jennifer, 237 Marrone Puglia, Gaetana, 238 Overby, David, 233 Marshall Plan, 75 Martinelli, F., 237 Pampanini, Silvana, 2 Masina, Giulietta, 2, 88, 92, 106, 116 Pasolini, 9, 106, 125, 126, 128, 130, 138, Mast, Gerald, 227 149, 150, 179, 225, 237 Mastroianni, Marcello, 2, 107, 130, 131, Pastrone, Giovanni, 12, 20, 21, 23, 26, 39, 132, 157, 167, 188, 191, 236, 238, 239 40, 64, 230 Matarazzo, Raffaele, 100, 235 patriarchy, 3–4, 227 maternal melodrama, 9, 33–35 Petacci, Claretta, 39 Mattoli, Mario, 64 Petri, Elio, 182 Mayne, Judith, 236 Pickering-Iazzi, Robin, 232 Melato, Mariangela, 3, 159, 160, 162, 238 Pietrangeli, Antonio, 103 Melchiori, Paola, 209, 233, 234, 235, 241 Pizzetti, Ildebrando, 12 254 INDEX OF NAMES AND TOPICS

Placido, Michele, 239 Stefani, M., 237 Plantinga, Karl, 231n, 234 Sutherland, Donald, 238 Pollock, Griselda, 233 Pribiam, E. Deidre, 228 Tamaro, Susanna, 221 Puccini, Giacomo, 31 Tangentopoli, 187 Tassone, Aldo, 236 Quinn, Anthony, 88 Taylor Robert, 229 Tinazzi, Giorgio, 239 Radford, Michael, 216 Tognazzi, Ugo, 182 Rafelson, Bob, 233 Tomasi di Lampedusa, Giuseppe, 128 Rainer, Yvonne, 229n, 239, 241 Tornatore, Giuseppe, 206, 209, 216, 218 Ralli, Giovanna, 239 Trintignant, Jean-Louis, 238 Rampling, Charlotte, 238 Troisi, Massimo, 9, 137, 211, 216, 217, 218, Re, Lucia, 232 241 Red Brigades, 141, 187 Turner, Lana, 233 Renoir, Jean, 232 Ricci, Steven, 232 Valli, Alida, 2, 84, 125, 235 Rich, Ruby, 46, 102, 104, 232, 235, 237, Verdi, Giuseppe, 31 239, 240 Verga, Giovanni, 26, 231 Risi, Dino, 9, 102, 131, 173, 179, 182, 196, verismo, 26, 231 238 Visconti, Luchino, 3, 4, 9, 49, 54, 70, 71, 76, Roberti, Roberto Luigi, 230 79, 84, 86, 87, 104, 106, 128, 138, 141, Rondolino, Gianni, 10, 229, 230, 231 142, 146, 148, 149, 207, 220, 225, 232, Rosenbaum, Jonathan, 6, 229 233, 234, 236, 237 Rossellini, Roberto, 2, 3, 4, 5, 9, 30, 49, 50, Vitti, Antonio, 234 53, 54, 55, 59, 60, 62, 63, 64, 66, 75, 76, Vitti, Monica, 1, 2, 5, 9, 119, 121, 136, 137, 77, 79, 80, 81, 104, 130, 225, 233 196, 197, 198, 202, 203, 205, 206, 209, Rossini, Gioachino, 31 210, 224, 236, 240, 241 Russo, Roberto, 197, 240 Wagner, Richard, 165 St. Paul, 228 Weedon, Chris, 228 Salvatores, Gabriele, 218 Weeks, Kathi, 242 Sanda, Dominique, 238 Wertmüller, Lina, 9, 10, 142, 143, 158, 159, Sandrelli, Stefania, 2, 131, 135, 238, 239 160, 162, 164, 165, 167, 168, 188, 192, Satta Flores, Stefano, 239 193, 194, 196, 209, 232, 233, 238 Scarpelli, Furio, 182 Wolpe, Ann Marie, 229 Scola, Ettore, 5, 9, 67, 131, 157, 158, 173, woman as femme fatale, 8, 9, 13, 15–16, 179, 182, 184, 185, 196, 232n, 238, 239 20–21, 22–23 Serena, Gustavo, 20, 29, 31, 231 woman as slave, 8, 13 Servi Burgess, E., 238 woman-as-spectacle, 20, 113 sexual conservatism, 7, 228 Wood, Robin, 212, 241 Silverman, Kaja, 199, 201 Smith, Greg M., 231, 234 Zampa, Luigi, 4, 66 Sordi, Alberto, 2, 9, 137, 138, 173, 182, 196, Zemeckis, Robert, 214 235 Zavattini, Cesare, 47, 53, 54, 66, 67, 70, 71, Stam, Robert, 240 72, 233