Abstract
As mentioned in the previous chapter, toward the end of the 1950s, some important social changes influenced European political life as well as the Italian economy. The Cold War began to ease, and in 1956, the European Common Marketwas established and became instrumental in stimulating Italy’s economic vitality. The year 1958 marked the beginning of what was called Italy’s “economic miracle.”
This is a preview of subscription content, log in via an institution to check access.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Preview
Unable to display preview. Download preview PDF.
Notes
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: Routledge, 1991), 44–75.
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.
Teresa De Lauretis, “Fellini 9 ?,” in Technologies of Gender, Essays on Theory, Film, and Fiction (Bloomington, IN: Indiana University Press, 1987), 95–106.
See “The Long Interview, Tullio Kezich and Federico Fellini” in Federico Fellini’s New Masterpiece, Juliet of the Spirits, ed. T. Kezich (New York: Ballantine Books, 1965), 17–64.
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.
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.
Carlo Biarese and Aldo Tassone, I film di Michelangelo Antonioni (Roma, Italy: Gremese, 1985), 45.
Judith Mayne, The Woman at the Keyhole: Feminism and Women’s Cinema (Bloomington, IN: Indiana University Press, 1982), 17.
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 structures vision and meaning,” and in so doing “governs its representation of woman.” De Lauretis, AU ce Doesn’t, Feminism, Semiotics, Cinema (Bloomington, IN: Indiana University Press, 1984), 138.
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).
For a more thorough discussion of this topic, see Enrico Giacovelli’s La commedia all’italiana (Rome, Italy: Gremese, 1990)
Jean A. Gili’s Arrivano I mostri: Ivolti della commedia italiana (Bologna, Italy: Cappelli, 1980).
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.
Copyright information
© 2010 Marga Cottino-Jones
About this chapter
Cite this chapter
Cottino-Jones, M. (2010). Women and Men as Victims of Violence and Alienation in the Films of the 1960s. In: Women, Desire, and Power in Italian Cinema. Italian and Italian American Studies. Palgrave Macmillan, New York. https://doi.org/10.1057/9780230105485_7
Download citation
DOI: https://doi.org/10.1057/9780230105485_7
Publisher Name: Palgrave Macmillan, New York
Print ISBN: 978-1-349-38445-7
Online ISBN: 978-0-230-10548-5
eBook Packages: Palgrave Media & Culture CollectionLiterature, Cultural and Media Studies (R0)