Voracious Dolls and Competent Chefs: Negotiating Femininities and Masculinities in Italian Food Advertisements of the 1990s-2010s
by Francesca Calamita
Food advertisements on Italian television and other media are populated by glamorous angels of the house, who look after their families by nourishing them with healthy food, or voracious dolls, whose appetite recalls sexual hunger. Similarly, men are depicted as breadwinners, thus reinforcing their stereotypical role in the collective imaginary,
Il doppio fantastico e la decostruzione del femminino in La doppia ora
di Andrea Bini
L’articolo esplora il tema dell’inconscio e del fantastico nel film di Giuseppe Capotondi, La doppia ora (2009) allo scopo di riflettere sulla corrispondenza tra mascolinità, femminilità e forme narrative. In particolare, si mostra come il personaggio maschile, ossessionato da una mania di controllo della realtà, proietti la propria ansia di castrazione sulla femme fatale,
Virilità fascista e mascolinità berlusconiana nella ricezione di Vincere
di Valerio Coladonato
La ricezione del film Vincere (Marco Bellocchio, 2009) fornisce un utile banco di prova per osservare il modo in cui le figure di Silvio Berlusconi e Benito Mussolini sono state affiancate nel discorso pubblico in Italia. L’accoglienza critica e le reazioni della stampa al film mostrano come una certa concezione della mascolinità abbia contribuito a forgiare la connessione tra i due uomini politici.
Forging the New man: World War I Narratives for Children
by Marisa Giorgi
This article examines the role of children’s literature as a tool in Mussolini’s anthropological revolution. A discussion of the regime’s goals to fascistize children’s leisure-time literature and the conciliation between the state and the Catholic Church provides context for an analysis of the conversion scenes from Eros Belloni’s Guerra! Romanzo fascista per i giovani (1933) and Antonio Beltramelli’s La grande diana (1934).
Italian Masculinity as Queer: An Immoderate Proposal
by John Champagne
This essay investigates a particularly polemical claim: that, throughout much of Western history, Italian masculinity and male sexuality have been represented in the literary and fine arts as “queer” in the specific sense of deconstructing the binaries masculine/feminine and homosexual/heterosexual. Briefly surveying some of the historical circumstances that have overdetermined Italian masculinity and male sexuality as queer, the essay then follows one theme—the status of Greek models of homoerotic relationships between men—through some of the extant historical and literary accounts,
Against their Will: Deconstructing the Myth of the Heroic Rapist in Ariosto’s Orlando Furioso and Machiavelli’s La Mandragola
by Scott Nelson
There are no words that encapsulate the idea of the heroic rapist better than the ones used by Susan Brownmiller in her book Against Our Will: Men, Women and Rape. She writes: “As man conquers the world, so too he conquers the female.” Throughout history no theme rules the masculine imagination more often and with less honor than the myth of the heroic rapist.
di Marina Spada
Marina Spada: Directing Actors and Actresses
Marina Spada parla del suo lavoro di regista e del suo rapporto con attori e attrici. In italiano, con sottotitoli in inglese.
Marina Spada talks about her work as a director of and of her relationship with actresses and actors. In Italian, with English subtitles.
di Susanna Nicchiarelli
A woman film director’s reflection on her work with male actors. The piece begins with the author’s recollection of her strong emotional reaction to the trivialization of the female character impersonated by Sissy Spacek in JFK, that she saw in her adolescence. She explains how gendered motivations, rejection of stereotypes, personal emotions, and respect for the spectators have guided her in her two features with leading actresses and supporting actors.
Women and Gender in Post-Unification Italy: Between Private and Public Spheres, edited by Katharine Mitchell and Helena Sanson. Book review by Bernadette Luciano.
Italian Women Filmmakers and the Gendered Screen, edited by Maristella Cantini. Book review by Stefania Lucamante.