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specifically, the depiction of the landscape through blurred and sepia coloured images diffuses a sense of melancholic unreality, the frequent panoramic framings subtly inducing sadness as viewers perceive the landscape's harmony being dissolved by the absurd hostility between factions of humankind. This conflict's absurdity is made explicit by the stark, lifeless images of the factory in a sequence designed to indicate the implications of the proposed sale. In a nocturnal sequence, long shots emphasize the factory's vast, empty spaces, while a metallic lighting illuminates with a limited palette of greyish-blue hues the spotless work benches and the rows of Parmesan cheeses on the shelves. The impression of lifelessness created by the visuals is emphasized by the disquieting echo of Barbara and Primo's footsteps. By engaging viewers affectively, the mise-en-scene strengthens the film's intellectual contention that the destruction of a communal productive reality signifies the death of part of society. A similar concept underpins the later sequence portraying the workers" discussions, where, however, a different aesthetic is used. The action is depicted in a realist style, which, by breaking the spell of the voiceover narration and the sophisticated visual description, allows viewers to temporarily re-emerge from the story's symbolic density and focus on an unambiguous narrative strand. The sequence highlights the impact of the terrorists' abstract political notions upon the workers as they curse the terrorists' actions and complain that the workers always pay in such situations. The adoption of dialect gives immediacy to the action, the colour scheme and lighting are plain and unembellished, and the depiction of working life unrhetorical. This simple but effective strategy elicits understanding of the workers' extraneousness from the abstract, convoluted praxis of the Red Brigade. Viewer alignment and allegiance However, the film's affective component is principally conditioned by the narrative's firm 118
spatio-temporal attachment to Primo and his thoughts, which elicit frequent and intense moments of empathy when, for example, his awareness of being perceived as a ridiculous man turns into a sombre realization that his family do not love him. Throughout the ensuing narrative, repeated reaction shots align viewers with Primo's deepening misery, which is amplified by the music score. The strongest moment of empathy towards Primo centres on his disillusionment when he learns that a plan to kidnap him had been aborted by his son only thanks to Laura. This dramatic sequence starts by showing Primo being startled by the brutal revelation. The camera follows him as he moves away from Laura and stops in a doorway: he is framed from the back as if to evoke the weight of the news on his shoulders. This shot is alternated with close-ups of Adelfo's uneasy expression, a reaction which appears designed to mirror the viewers' own response and increase the scene's affective charge; where viewers are concerned, facial close-ups can 'elicit response through the processes of affective mimicry, facial feedback and emotional contagion' (Plantinga, 1999: 240). Finally, the camera shows a close-up of Primo's anguished face as he swigs a bottle of whisky before fainting , and the take ends with a high-angle framing of Laura and Adelfo kneeling over him. Given Bertolucci's tendency to distance viewers from his protagonists, the alignment strategies in Tragedy represent a novel, one-off experience. The consideration shown to Primo might be attributed - without undue speculation - to Bertolucci enunciating a fondness for something - the PCI - which had once been great (this being symbolized by Primo's enthusiasm in remembering the sense of hope and opportunity that characterized his youth), and melancholy at its inglorious end in terms of the younger generations" disowning the Party as an authoritative influence. This is reflected in the contempt shown by Giovanni and Laura in depriving Primo of any decision-making authority over the factory's future, and ultimately over their lives. The compassion elicited towards Primo and the viewer's engagement with the 119
Page 1 and 2:
Emotion and Cognition in the Films
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Contents Acknowledgements 1 Abstrac
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Acknowledgements I am very grateful
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INTRODUCTION Over the past five dec
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moods punctuated by emotional pheno
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comprehensible why a nation that de
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foreground a reception process in w
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LITERATURE REVIEW While this study
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film for 'jealous cinephiles or, mo
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together' (Ungari, 1982: 51). This
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Canby implicitly agrees with Cineas
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it is Last Tango in Paris, and in t
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e attributed to Paul's abolition of
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Petri, who - in 1972 - talking abou
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twofold aim of offering viewers sop
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Maraini, D. (1973) 'Who were you?',
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In discussing different narrative t
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outcomes. The viewer and character
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information to which the character
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emotional state that the individual
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opera houses in Before the Revoluti
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manipulation, Bordwell analyses the
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narrative schema clarifies how we o
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to the point of drawing the spectat
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for granted, in a 'slightly hazardo
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passive emotionalism' (Sterritt, 19
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Godard's approach from Bertolucci's
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characters being stimulated into ta
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apolitical art' in La Chinoise (p.
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SECTION 1; Pessimism and Melancholi
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La commare secca/The Grim Reaper: A
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the film. Several of the suspects a
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to reduce realism in favour of an a
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giant publicity poster for the aper
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mark out the sequence as significan
Page 71 and 72: emphasizes his youth and simple nat
Page 73 and 74: The camera movement and the frame c
Page 75 and 76: Smith, G. M. (1999) 'Local Emotions
Page 77 and 78: of respectability. Inspired by Cesa
Page 79 and 80: film is/was viewed, the goal orient
Page 81 and 82: viewers identify complicated intert
Page 83 and 84: diegetic sound, since, except for t
Page 85 and 86: audiovisual construction of the ope
Page 87 and 88: evocative representations of landsc
Page 89 and 90: Another example of this phenomenon
Page 91 and 92: La stratesia del raeno/The Spider's
Page 93 and 94: director launching 'a critique from
Page 95 and 96: possible to understand 'how the mod
Page 97 and 98: The peak of this integration is rea
Page 99 and 100: phase of his inquiries becomes clou
Page 101 and 102: Bertolucci praises Storaro's sensit
Page 103 and 104: on their shoulders the head of the
Page 105 and 106: The emotional quality of the musica
Page 107 and 108: Notes References Regarding the fail
Page 109 and 110: La trasedia di un uomo ridicolo / T
Page 111 and 112: the socio-political composition of
Page 113 and 114: emerge in Bocca's reconstruction of
Page 115 and 116: Elitism, ascetism and emotional rep
Page 117 and 118: dangerous estrangement from the rea
Page 119 and 120: abandons any attempt to understand
Page 121: with Adelfo and Laura, Primo is sur
Page 125 and 126: manages to expand the flimsy substa
Page 127 and 128: Moravia, A. (1971) lo e lui, (1990)
Page 129 and 130: established in Tango. Yet the analy
Page 131 and 132: evidently designed to push the boun
Page 133 and 134: inging to contemporary Italian soci
Page 135 and 136: said he was inspired by the Third C
Page 137 and 138: creation of Expressionist theatre w
Page 139 and 140: The Godardian scheme Partner's debt
Page 141 and 142: scene of Clara's murder by the doub
Page 143 and 144: scene, since objects indexed by the
Page 145 and 146: conventional art, the injustices of
Page 147 and 148: Bertolucci, B. (1967) 'Versus Godar
Page 149 and 150: compositions; the outcome is a dens
Page 151 and 152: Like Pirandello's protagonists, Pau
Page 153 and 154: Winston and Julia establish a lovin
Page 155 and 156: the character might be perceived po
Page 157 and 158: Another scene that creates a tense
Page 159 and 160: that the quotient of sexuality will
Page 161 and 162: from peculiar angles, sometimes thr
Page 163 and 164: also cue a sense of cold unresponsi
Page 165 and 166: 2. 'Holy family, church of good cit
Page 167 and 168: easoned, 'great movies of the past,
Page 169 and 170: it towards the images being splashe
Page 171 and 172: when, in voiceover, he recollects:
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to one of the character's parents a
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Sexuality and shifts of subjectivit
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nudity, commodified on to celluloid
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notion that 'Decadence cultivates a
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engaging. Unfortunately the core of
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Section Three: Between History and
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II conformista/The Conformist: The
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to the female protagonists Severine
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constitute an example of the femme
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despises, ranging from Fascist offi
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the closed doors, his sense of soli
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lying on. Bearing in mind the manne
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Bertolucci seemed aware of the film
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illuminated as if to imply the brig
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hues of bluish-grey colouring are d
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a narrative focus means that the de
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Notes 1. They Live by Night (1948)
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1985: 73) should be contextualized
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The film's cognitive structure and
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daily life elicits nostalgia for a
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that periodically distances viewers
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followers), sensitive (she relates
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part of the film depicting the peas
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engagement will again change from e
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leadership, which is arguably assum
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References Bachmann, G. (1973) 'Eve
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The success of The Last Emperor ena
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L 'ultimo imperatore/The Last Emper
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out; the red of a notice on the wal
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The intellectual implications of th
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the Forbidden City. This, combined
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Japanese. His personality fits the
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the belief that whereas language ma
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In addition, the presence of a hist
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(2009) is one recent, successful ex
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Gaut, B. (1999) 'Identification and
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working class people depicted in th
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strengthening viewers' alignment wi
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experience of being out of clock ti
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where the contemplation of this inf
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infinite. In his discussion of sour
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camera's 'symbiotic fusion' with th
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criticism of contemporary Western i
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is conveyed by Port's bleak awarene
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Piccolo Buddha /Little Buddha: A Jo
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concludes that all three children a
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intensity created by stylized light
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of a children's book, takes on a pr
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Jesus throughout Siddhartha's progr
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human feelings and desires. This in
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diminishing because of Western soci
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In all three films it is possible t
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the film's dramatic pivot - appears
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different stylistic registers as th
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esolve it; and a predominantly unre
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the two characters. The failure to
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even understanding from viewers and
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illusion. In search of new scandals
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That this sequence was written, pro
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of Caterina discovering Joe's drug
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on different types of meat. The bar
Page 295 and 296:
was considered to be Bertolucci's r
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Hope, W. (2006) Giuseppe Tornatore,
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of their 'elder sisters'. In a broa
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she slowly changes position. Both s
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evolve (M. Smith, 1995: 84-85). The
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any allegiance towards the characte
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the 'elder sister' is also unsatisf
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omantic fulfilment. The author as o
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striking garden whose colours natur
Page 313 and 314:
life revitalized. Diane rediscovers
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L 'assedio I Besieged: A Cognitive
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on the dusty road, while the priest
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elongings, and his silent, secretiv
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individuals like Shandurai in Italy
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other' as opposed to the individual
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(Loshitsky, 2010: 90-93) via argume
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create different artistic effects,
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The use of different film speeds an
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unfolded by the narrative until tha
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CONCLUSION This project's aim has b
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had much to teach him, and his reso
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and confusing experience for mainst
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within Italian cinema has not been
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Oneiric: The depiction of dream-lik
Page 343 and 344:
Bertolucci, B. (2002) 'Bertolucci i
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Grodal, T. (1999) 'Emotions, Cognit
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Orwell, G. (1949) Nineteen Eighty-F
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Willett, J. (ed.) (1992) Brecht on
Page 351 and 352:
Cinematography: Giovanni Narzisi; P
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Editing: Gabriella Cristiani; Music
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SELECT FILMOGRAPHY A bout de souffl
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Rashomon, Akira Kurosawa, 1951. Rat
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