contents - De Gruyter
Transcript
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