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Download (12MB) - University of Salford Institutional Repository

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camera's 'symbiotic fusion' with the camels is shared by them. Viewers are also closely<br />

aligned with Kit during the journey through repeated POV shots, and share her sense <strong>of</strong><br />

abandon, becoming oblivious to the cultural world to which she belongs.<br />

Femininity and the destiny <strong>of</strong> female fulfilment<br />

To portray Kit's devastation at Port's death, especially after having reached a mutual<br />

understanding, Debra Winger portrays the character extremely passively - she never really<br />

speaks - to convey estrangement from her past life. Her intense sexual relationship with<br />

Belquassim is linked to the issue <strong>of</strong> identity, as its origins can be found in a concept that<br />

Bertolucci explored in Last Tango in Pans, with the addition that here the use <strong>of</strong> verbal<br />

language is erased altogether. By having Kit and Belquassim re-enact the sexual experience<br />

<strong>of</strong> Paul and Jeanne who also met in seclusion, ignorant <strong>of</strong> each other's identity, Bertolucci<br />

confirms his idea that only the annulment <strong>of</strong> memory, and consequently <strong>of</strong> one's own<br />

identity, can temporarily allow a fusion with the Other and a free joyful sexuality. Like Paul<br />

in the Paris apartment. Kit finds in this sensual seclusion a sort <strong>of</strong> limbo in which pressing<br />

questions disappear. Between the two films there is also some similarity in the mise-en-scene;<br />

Kit stands half undressed in a washtub while Belquassim playfully washes black paint <strong>of</strong>f<br />

her, and this is reminiscent <strong>of</strong> Jeanne being sponged down by Paul.<br />

Nonetheless Kit's destiny is almost as sad as Port's, given that she must live with the<br />

impossibility <strong>of</strong> being happy. Kit rejects traditional concepts <strong>of</strong> matrimony, with its<br />

established passive female roles that lead to psychological frustration, a mode <strong>of</strong> being that<br />

also affects long term sensual gratification. She also refuses more modern, pragmatic ways <strong>of</strong><br />

conducting relationships as typified by Tunner's perspective, because she knows the<br />

limitations <strong>of</strong> living purely for the moment. The pessimism implied by her situation emerges<br />

in Kit's admission that she is lost; it is an open ending that will find an attempted solution in<br />

251

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