contents - De Gruyter

Contents
Note on the Text vii
Acknowledgments ix
1 Auteur and Autobiography 3
Constructing an Auteur 5
Collaboration and Production 6
The Zigzagging Path 12
Bobbio and My Mother’s Smile: Autobiography
in Bellocchio’s Cinema 19
Conclusion 28
2 Bellocchio’s Political Cinema in the Sixties and Seventies 29
The Problems of Impegno in the Era of Postmodernism 30
The Nature of Bellocchio’s Impegno 36
La Cina è vicina, ‘Discutiamo, discutiamo,’ and
Pre-contestation Impegno 41
The Militant Documentaries, Nel nome del padre, and Marcia
trionfale: Contestation, Impegno, and Collectivity 52
Conclusion 60
3 The Dreaming ‘I’: Interiority and Massimo Fagioli’s Model
of the Unconscious 62
Massimo Fagioli and Group Therapy 62
Massimo Fagioli’s Model of the Unconscious 67
The Calm Sea and Inner Child: Salto nel vuoto and
Il sogno della farfalla 68
Sex, Women, and Irrationality: La visione del Sabba and
La condanna 74
Unauthenticated
Download Date | 3/19/17 10:37 PM
vi Contents
Screening the ‘I’: Styles of Interiority 80
The Oneiric and States of Hesitation 81
Space and the Unconscious, or the House as Psyche: Salto nel
vuoto and Diavolo in corpo 87
Temporality and the Unconscious: Enrico IV
and the Chronotrap 93
Conclusion 103
4 Bellocchio’s Political Cinema from the Eighties
to the Present 104
Italian Terrorism: Buongiorno, notte 105
Vincere: The Stripped Self 121
Conclusion 128
5 The Rebel ‘I’: Patriarchy and Parents 130
The Woman as Rebel: Politics and Patriarchy 130
Rebellion in the Name of the Father and the Family: I pugni in
tasca, Il Principe di Homburg, and L’ora di religione 139
Conclusion 150
6 Tradition and Its Discontents 154
Adaptations and Citations: Pirandello, Manzoni, and the
Overturning of the Father-Text 154
Conclusions: Private Cinema in a Public Sphere 176
Notes 179
Filmography of Marco Bellocchio 203
Bibliography 205
Index 217
Unauthenticated
Download Date | 3/19/17 10:37 PM