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peasants' leader-to-be - are born. The film depicts the story of three generations of the Berlinghieri family, landed gentry from Parma, interlinked with that of the Dalco family, who are the leaders of the peasants who work for the Berlinghieris. While Alfredo grows up with a great love for his grandfather, and contempt for his arrogant father Giovanni, Olmo does not suffer from being the illegitimate son of the peasant Rosina, as his charismatic grandfather Leo Dalco is devoted to him and appoints him as his heir as the peasants' leader. Despite belonging to different social classes, the boys establish a friendship which continues despite their contrasting political views. After the First World War, Olmo forms a relationship with Anita, and together they lead the peasants' fight for civil rights. Alfredo falls in love with the sophisticated Ada, but their marriage is troubled because while she feels disturbed by Fascist violence, Alfredo takes on an ambiguous, opportunistic attitude, even when Olmo is unjustly accused of murder. In the meantime, Attila, originally the chief of an illegal paramilitary group set up by Alfredo's father to suppress the peasants, has become a feared Fascist official. He forms a relationship with Regina, Alfredo's impoverished and immoral cousin who wants to take revenge on her family for their disrespectful treatment of her. The two are compatible in their opportunism and cruelty which escalate into a mixture of sex and violence. With the fall of Fascism, Attila and Regina are killed by the peasants, while Alfredo is brought to trial and ultimately saved by Olmo. The final sequence shows Alfredo and Olmo, now elderly, but still inhabiting the same rural environments; Olmo sits near a railway line, whereas Alfredo lies on the track itself, just as he and Olmo used to do in one of their childhood dares. But this time, instead of lying inside the tracks, he lies across them, so that the train will kill him as it passes. The train's approach is an iconic representation of the peasants' victory, but the image of the elderly Alfredo is replaced by one of Alfredo as a child lying inside the track. 204
The film's cognitive structure and the question of nostalgia The film's structure resembles French realist novels such as the works that form Honore de Balzac's La Comedie Humaine, (1799/1850) where detailed descriptions of the characters' milieu link with the narration of their individual struggles during a particular epoch, hi the case of 1900, the narrative depicts the contrast between different social classes but, unlike the pattern of literary narratives in which different classes rarely interact, the essence of the narrative ambiguity of 1900 evolves as the key figures embodying class difference, Alfredo and Olmo, establish a friendship which is perceived as ever more incomprehensible as Alfredo's ambiguity evolves into an opportunistic, tacit backing of Fascist violence. This element creates disorientation in the viewers' attempt to reconstruct the story, as the linear chain of cause and effect underlying the narration is disturbed by this unconventional position given to characters who, by representing conflicting social forces, would be unlikely maintain their friendship. The film depicts the lives of different classes through a narrative whose focus shifts from one grouping to the other with a perspective that constitutes an evocative and outwardly objective description of the socioeconomic milieu of the time. However, the film's visual arrangement of these elements is marked by an aestheticized beauty in the representation of both social classes, an effect consolidated by the way in which the opulent mise-en-scene is symmetrically distributed, though in different forms. The refinement of the landowners' costumes and the decor of their living environments are counterbalanced by framings which give an almost sculptural representation of the physicality of the labourers, and which accentuate the natural beauty of their rural houses, a landscape where the master's manor house also stands. This representation points to an aesthetic problem arising from the mise- en-scene of 1900, as it implies an uneasy interplay between an aestheticized, personal evocation on Bertolucci's part, and an attempt to develop a more distanced historical 205
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
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emphasizes his youth and simple nat
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The camera movement and the frame c
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Smith, G. M. (1999) 'Local Emotions
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of respectability. Inspired by Cesa
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film is/was viewed, the goal orient
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viewers identify complicated intert
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diegetic sound, since, except for t
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audiovisual construction of the ope
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evocative representations of landsc
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Another example of this phenomenon
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La stratesia del raeno/The Spider's
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director launching 'a critique from
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possible to understand 'how the mod
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The peak of this integration is rea
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phase of his inquiries becomes clou
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Bertolucci praises Storaro's sensit
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on their shoulders the head of the
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The emotional quality of the musica
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Notes References Regarding the fail
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La trasedia di un uomo ridicolo / T
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the socio-political composition of
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emerge in Bocca's reconstruction of
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Elitism, ascetism and emotional rep
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dangerous estrangement from the rea
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abandons any attempt to understand
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with Adelfo and Laura, Primo is sur
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spatio-temporal attachment to Primo
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manages to expand the flimsy substa
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Moravia, A. (1971) lo e lui, (1990)
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established in Tango. Yet the analy
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evidently designed to push the boun
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inging to contemporary Italian soci
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said he was inspired by the Third C
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creation of Expressionist theatre w
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The Godardian scheme Partner's debt
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scene of Clara's murder by the doub
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scene, since objects indexed by the
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conventional art, the injustices of
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Bertolucci, B. (1967) 'Versus Godar
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compositions; the outcome is a dens
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Like Pirandello's protagonists, Pau
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Winston and Julia establish a lovin
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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:
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: 1985: 73) should be contextualized
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
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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
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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
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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
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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
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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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