Download (12MB) - University of Salford Institutional Repository

More documents

Recommendations

Info

Bertolucci's affirmation that the encounter between Paul and Jeanne ultimately embodies 'forces pulling in different directions' like the 'encounter offerees which exists at the base of all political clashes', the director noting how Jeanne's bourgeois lifestyle is 'upset' (Bachmann, 1973: 93), is not entirely validated by the intellectual implications of what appears on screen. The narration depicts the bourgeois Jeanne as the one who wants to believe in Paul's vision of a new, unconventional relationship; it is she who highlights the hypocrisy of her parents' relationship by questioning her mother about the photo of the Algerian lover that her father kept in his wallet; it is Jeanne who likens love to 'two workers who go to a secret apartment, take off their overalls, become man and woman again and make love', and who seeks a more authentic existence through Tom. By contrast, the decision of the proletarian Paul 'to re-enter the world' (Kolker, 1985: 138) is depicted as if his retreat from the world, and the ideological implications of this, had not happened. Arguably, opinions on the film's ending may differ depending on the gender of the viewer or critic, since Kolker's affirmation that Jeanne's decision to choose Tom 'signifies her ultimate betrayal of the passion Paul attempts finally, and too late, to offer to her' (Kolker, 1985: 135) can be reversed by a female perspective that might view Paul's egoism in inviting Jeanne to live at the hotel once owned by his wife and where she committed suicide as a betrayal of Jeanne after she had embraced his idea of a more idealist, non-conformist lifestyle. This reading of Jeanne's character implies a degree of coherence that is superior to that of Paul and therefore her character cannot be considered as a representation of the 'hated bourgeoisie', nor is she a 'mediocre heroine' (Loshitzky, 1995: 22). This is because Jeanne does not exist in a socio-political context of young politicized, leftist intellectuals, but in a context of bourgeois youngsters becoming aware of, and reacting against, social constraints. Therefore, there are many elements in Jeanne's characterization that are intellectually coherent, and for viewers and critics who are able to look beyond her particular social class, 150
the character might be perceived positively for leaving her comfort zone. However, the following sections will outline how viewer attachments to Jeanne and to the film's other characters are problematic within the film's overall scheme. Erasing the viewer's pro-attitude A pattern emerges in Bertolucci's work where the viewer's nascent affective attachments towards characters are systematically blocked. After spectators assess whether Paul's life trajectory and values are compatible with their own value system, whatever this may be, the narration provokes viewer detachment after the sequence that symbolically concludes Paul's quest. The sequence resembles one at the beginning of the film, but with Paul and Jeanne in inverted positions. In the opening sequence, the camera followed a disconsolate Paul, while Jeanne stared at him as he passed; now it is Paul who passes a disconsolate Jeanne, and stops to introduce himself using his real identity. This symbolic, circular representation of the end of Paul's retreat into an alternative existence cues a possible cognitive expectation from viewers of a positive narrative outcome that might encompass his new self-awareness and Jeanne's love for him. Instead, Bertolucci dwells on Paul's dominance within the film's scheme, hi the next sequence viewers witness Paul's mockery of a tango competition - which functions as a metaphor for society's fakeness - but viewers also have access to Paul's thoughts, through his voiceover, as he reflects on how in America Jeanne would be considered a bimbo. And this is how he treats her in dismissing her understandable reservations about a prospective future at the hotel, and in reacting to her decision to end their relationship by compelling her to masturbate him under the table, because 'there is something left to do'. In this long take, which heralds the film's dramatic denouement, Paul's egocentric dominance, examples of which this chapter has already highlighted, escalates into the worst form of patriarchal contempt towards the female, and the film's last traces of progressive liberation evaporate. This inevitably dismays those viewers who had been sensitive to the 151
Page 1 and 2:
Emotion and Cognition in the Films
Page 3 and 4:
Contents Acknowledgements 1 Abstrac
Page 5 and 6:
Acknowledgements I am very grateful
Page 7 and 8:
INTRODUCTION Over the past five dec
Page 9 and 10:
moods punctuated by emotional pheno
Page 11 and 12:
comprehensible why a nation that de
Page 13 and 14:
foreground a reception process in w
Page 15 and 16:
LITERATURE REVIEW While this study
Page 17 and 18:
film for 'jealous cinephiles or, mo
Page 19 and 20:
together' (Ungari, 1982: 51). This
Page 21 and 22:
Canby implicitly agrees with Cineas
Page 23 and 24:
it is Last Tango in Paris, and in t
Page 25 and 26:
e attributed to Paul's abolition of
Page 27 and 28:
Petri, who - in 1972 - talking abou
Page 29 and 30:
twofold aim of offering viewers sop
Page 31 and 32:
Maraini, D. (1973) 'Who were you?',
Page 33 and 34:
In discussing different narrative t
Page 35 and 36:
outcomes. The viewer and character
Page 37 and 38:
information to which the character
Page 39 and 40:
emotional state that the individual
Page 41 and 42:
opera houses in Before the Revoluti
Page 43 and 44:
manipulation, Bordwell analyses the
Page 45 and 46:
narrative schema clarifies how we o
Page 47 and 48:
to the point of drawing the spectat
Page 49 and 50:
for granted, in a 'slightly hazardo
Page 51 and 52:
passive emotionalism' (Sterritt, 19
Page 53 and 54:
Godard's approach from Bertolucci's
Page 55 and 56:
characters being stimulated into ta
Page 57 and 58:
apolitical art' in La Chinoise (p.
Page 59 and 60:
SECTION 1; Pessimism and Melancholi
Page 61 and 62:
La commare secca/The Grim Reaper: A
Page 63 and 64:
the film. Several of the suspects a
Page 65 and 66:
to reduce realism in favour of an a
Page 67 and 68:
giant publicity poster for the aper
Page 69 and 70:
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 and 122: with Adelfo and Laura, Primo is sur
Page 123 and 124: spatio-temporal attachment to Primo
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: Winston and Julia establish a lovin
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:
Page 173 and 174: to one of the character's parents a
Page 175 and 176: Sexuality and shifts of subjectivit
Page 177 and 178: nudity, commodified on to celluloid
Page 179 and 180: notion that 'Decadence cultivates a
Page 181 and 182: engaging. Unfortunately the core of
Page 183 and 184: Section Three: Between History and
Page 185 and 186: II conformista/The Conformist: The
Page 187 and 188: to the female protagonists Severine
Page 189 and 190: constitute an example of the femme
Page 191 and 192: despises, ranging from Fascist offi
Page 193 and 194: the closed doors, his sense of soli
Page 195 and 196: lying on. Bearing in mind the manne
Page 197 and 198: Bertolucci seemed aware of the film
Page 199 and 200: illuminated as if to imply the brig
Page 201 and 202: hues of bluish-grey colouring are d
Page 203 and 204: a narrative focus means that the de
Page 205 and 206:
Notes 1. They Live by Night (1948)
Page 207 and 208:
1985: 73) should be contextualized
Page 209 and 210:
The film's cognitive structure and
Page 211 and 212:
daily life elicits nostalgia for a
Page 213 and 214:
that periodically distances viewers
Page 215 and 216:
followers), sensitive (she relates
Page 217 and 218:
part of the film depicting the peas
Page 219 and 220:
engagement will again change from e
Page 221 and 222:
leadership, which is arguably assum
Page 223 and 224:
References Bachmann, G. (1973) 'Eve
Page 225 and 226:
The success of The Last Emperor ena
Page 227 and 228:
L 'ultimo imperatore/The Last Emper
Page 229 and 230:
out; the red of a notice on the wal
Page 231 and 232:
The intellectual implications of th
Page 233 and 234:
the Forbidden City. This, combined
Page 235 and 236:
Japanese. His personality fits the
Page 237 and 238:
the belief that whereas language ma
Page 239 and 240:
In addition, the presence of a hist
Page 241 and 242:
(2009) is one recent, successful ex
Page 243 and 244:
Gaut, B. (1999) 'Identification and
Page 245 and 246:
working class people depicted in th
Page 247 and 248:
strengthening viewers' alignment wi
Page 249 and 250:
experience of being out of clock ti
Page 251 and 252:
where the contemplation of this inf
Page 253 and 254:
infinite. In his discussion of sour
Page 255 and 256:
camera's 'symbiotic fusion' with th
Page 257 and 258:
criticism of contemporary Western i
Page 259 and 260:
is conveyed by Port's bleak awarene
Page 261 and 262:
Piccolo Buddha /Little Buddha: A Jo
Page 263 and 264:
concludes that all three children a
Page 265 and 266:
intensity created by stylized light
Page 267 and 268:
of a children's book, takes on a pr
Page 269 and 270:
Jesus throughout Siddhartha's progr
Page 271 and 272:
human feelings and desires. This in
Page 273 and 274:
diminishing because of Western soci
Page 275 and 276:
In all three films it is possible t
Page 277 and 278:
the film's dramatic pivot - appears
Page 279 and 280:
different stylistic registers as th
Page 281 and 282:
esolve it; and a predominantly unre
Page 283 and 284:
the two characters. The failure to
Page 285 and 286:
even understanding from viewers and
Page 287 and 288:
illusion. In search of new scandals
Page 289 and 290:
That this sequence was written, pro
Page 291 and 292:
of Caterina discovering Joe's drug
Page 293 and 294:
on different types of meat. The bar
Page 295 and 296:
was considered to be Bertolucci's r
Page 297 and 298:
Hope, W. (2006) Giuseppe Tornatore,
Page 299 and 300:
of their 'elder sisters'. In a broa
Page 301 and 302:
she slowly changes position. Both s
Page 303 and 304:
evolve (M. Smith, 1995: 84-85). The
Page 305 and 306:
any allegiance towards the characte
Page 307 and 308:
the 'elder sister' is also unsatisf
Page 309 and 310:
omantic fulfilment. The author as o
Page 311 and 312:
striking garden whose colours natur
Page 313 and 314:
life revitalized. Diane rediscovers
Page 315 and 316:
L 'assedio I Besieged: A Cognitive
Page 317 and 318:
on the dusty road, while the priest
Page 319 and 320:
elongings, and his silent, secretiv
Page 321 and 322:
individuals like Shandurai in Italy
Page 323 and 324:
other' as opposed to the individual
Page 325 and 326:
(Loshitsky, 2010: 90-93) via argume
Page 327 and 328:
create different artistic effects,
Page 329 and 330:
The use of different film speeds an
Page 331 and 332:
unfolded by the narrative until tha
Page 333 and 334:
CONCLUSION This project's aim has b
Page 335 and 336:
had much to teach him, and his reso
Page 337 and 338:
and confusing experience for mainst
Page 339 and 340:
within Italian cinema has not been
Page 341 and 342:
Oneiric: The depiction of dream-lik
Page 343 and 344:
Bertolucci, B. (2002) 'Bertolucci i
Page 345 and 346:
Grodal, T. (1999) 'Emotions, Cognit
Page 347 and 348:
Orwell, G. (1949) Nineteen Eighty-F
Page 349 and 350:
Willett, J. (ed.) (1992) Brecht on
Page 351 and 352:
Cinematography: Giovanni Narzisi; P
Page 353 and 354:
Editing: Gabriella Cristiani; Music
Page 355 and 356:
SELECT FILMOGRAPHY A bout de souffl
Page 357 and 358:
Rashomon, Akira Kurosawa, 1951. Rat
show all

Download (12MB) - University of Salford Institutional Repository

Create successful ePaper yourself

Delete template?

Save as template?