Abstract
The above quotation is from Monica Vitti,1 a well-known “diva” of Italian cinema whose acting and directorial expertise I greatly admire, and it succinctly provides a good explanation of the roles that women are supposed to play in Italian cinema, thus preparing the readers for the main topic of this book. This type of research, according to Christine Gledhill, has already been undertaken in the United States with results that seem to validate Monica Vitti’s statement, as they uphold the view that in film, women “do not have a voice, that the female point of view is not heard.”2 To my knowledge, this type of research has not yet been undertaken in Italy in book form, and it is the goal of this book to raise more interest for this topic. For several years, while teaching and doing research on Italian film and gender studies as a professor of Italian at the University of California at Los Angeles, I thought of combining these two areas of study in a book that would collect my observations on the representation of women in Italian cinema. Women’s presence in Italian cinema is indeed paramount, as most Italian films seem to weave their narrative plots around beautiful women and their love relationships with men. The film discourse, however, seems to limit the relevance of the female protagonists’ role vis-à-vis the male protagonists’ role, and consequently the film spectators, faced with fascinating images of beautiful but powerless women on the screen, find themselves constantly confronted with what Nancy Chodorov calls “the intertwining of sexuality, gender, inequality and power.”3
It is incredible how very few Italian directors and scriptwriters are seriously interested in what a woman thinks or by what a woman is moved… In cinema, when they write a script, nobody writes for women characters. How many times a scriptwriter has told me: “My dear Monica, how can I write cinema stories for you? You are a woman and what does a woman do? She does not go to war; she has no profession… What can I have you do? Only a love story can I make you do; that you have children, suffer, he leaves you, you are desperate …” You see, this is the only function they give me.
—Monica Vitti
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Notes
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.
Nancy Chodorov, “G ender as Personal and Cultural,” in The Second Signs Reader: Ferninist Scholarship 1983–1996, ed. Ruth-Ellen B. Joeres and Barbara Laslett (Chicago: University of Chicago Press, 1996), 216–44.
According to Teresa De Lauretis in Alice Doesn’t Fern inism, Semiotics, Cinema (Bloomington, IN: Indiana University Press, 1982)
Laura Mulvey in Visual and Other Pleasures (Bloomington, IN: Indiana University Press, 1989)
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.
Patriarchy as a system is founded upon the family and the importance it has in society, 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 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.” History of Ideas on Woman, ed. Rosemary Agonito (New York: G. P. Putnam’s Sons, 1977), 69–72.
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 Feminist Practice and Poststructuralist Theory (New York: Blackwell, 1987)
E. Ann Kaplan’s Motherhood and Representation (London: Routledge, 1992)
Julia Kristeva’s Desire in Language: A Semiotic Approach to Literature and Culture (New York: Columbia University Press, 1980).
Giuliana Bruno’s’ collection of essays in Off-Screen: Women and Film in Italy (London: Rout-ledge, 1988).
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.
For an exhaustive discussion of this topic, see Christian Metz’s The Im aginary Sign ifier: Psychoanalysis and Cinema (Bloomington, IN: Indiana University Press, 1982).
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.
Jonathan Rosenbaum, Movies as Politics (Berkeley, CA: University of California Press, 1997), 3.
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
Readers interested in this approach may consult also the collection of articles in Feminism and Materialism: Women and Modes of Production, ed. Annette Kuhn and Ann Marie Wolpe (London: Routledge, 1978)
Marcia Landy’s book, Film, Politics, and Gramsci (Minneapolis, MN: University of Minnesota Press, 1995).
See Timothy Corrigan, A Short Guide to Writing about FILM (New York: Longman, 1997), 88.
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© 2010 Marga Cottino-Jones
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Cottino-Jones, M. (2010). Introduction. In: Women, Desire, and Power in Italian Cinema. Italian and Italian American Studies. Palgrave Macmillan, New York. https://doi.org/10.1057/9780230105485_1
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