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is curious that this accusation came after they had dismissed The Tragedy of a Ridiculous Man, a film that this study considers eligible to be included among Bertolucci's most political films, such as Before the Revolution, Partner and Tlie Spider's Stratagem. The director's interest in vast, exotic spaces might be interpreted as a need to breathe after the claustrophobic experience, in psychological terms, created in Italy by negative responses to almost all his films. On the other hand, this study has identified how all three films retain a certain socio-political significance. In this respect, Little Buddha addresses Italian audiences directly, as many contemporary viewers would remember how in the 70s and early 80s it was common among leftist sympathizers to turn to Buddhism as a philosophical answer to their political disappointment. In this regard it is interesting to remember how Bertolucci had already anticipated this particular interest in Before the Revolution (1964), through the character of Gina who narrates an apologue on the inexistence of time, this drawing on Eastern philosophy (see the earlier reference to Hesse's book Siddhartha). Certainly, as regards the beliefs circulating in the developed world during those years, the film does not express any messianic expectation about the ability of Buddhism to alleviate social problems. Yet it is rediscovered as a way to elicit reflection on how Western society has come to be oblivious of, and indifferent to, the human condition. Hence the film's socio-political perspective can be acknowledged as a warning to Western society against its harmful tendency to restrict its conception of the world to Western values only. This interpretation appears confirmed by the film's denouement (the Conrad family reunited with Lisa who is expecting a second baby) which depicts how Dean's world view has been positively changed by contact with a different culture. Similarly, the journey into the marvellous seems to represent Bertolucci's intention not only to amaze viewers, but also to pose a fundamental question linked to the abovementioned socio-political warning. It concerns the danger that human ability to experience life's wonders is 268
diminishing because of Western society's obsession with keeping human existence under rational control and within fixed parameters. The recourse to the archetypes and myths in the film is a way of underlining their potential - both at social and individual levels - to shape people's perspectives and hence generate possible new life perspectives. The construction of the film's final images seem to reflect this notion, in that the camera first frames the Conrads' boat (a realistic image), and then slowly moves backwards until it becomes smaller against Seattle's silhouette which is enveloped in a beautiful sunset (a poetic image). This is a clear cinematic statement that we are surrounded by natural wonders, provided that we take the time to become aware of this. Notes 1. The myth narrates that Pandora was created on Zeus's command to punish Perseus and mankind for having stolen the sacred fire. Zeus sent Pandora to Earth to marry Perseus's brother, and knowing her curiosity, he gave her a beautiful vase with a strong recommendation never to open it. As expected, Pandora opened the vase, thus letting out all the punishments. After days of devastation. Pandora discovered that at the bottom of the vase, only one thing was left: hope. References Grazzini, G. (1993) review in L 'Indipendente, 10th of December, in Mirabella, JC. and Pitiot, P. (ed.) (1999) Inter-vista a Bemardo Bertolucci, Rome: Gremese Editore. Grodal, T. (1997) Moving Pictures, Oxford: Oxford University Press. Niogret, H. (1993) review in Positif, n.394, December, in Mirabella, JC. and Pitiot, P. (ed) (1999) Inter-vista a Bemardo Bertolucci, Rome: Gremese Editore. Smith, M. (1995) Engaging Characters, Oxford: Oxford University Press. Socci, S. (1996) Bemardo Bertolucci, Milan: II Castoro Cinema. 269
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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
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Another scene that creates a tense
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that the quotient of sexuality will
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from peculiar angles, sometimes thr
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also cue a sense of cold unresponsi
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2. 'Holy family, church of good cit
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easoned, 'great movies of the past,
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it towards the images being splashe
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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
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
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Page 267 and 268: of a children's book, takes on a pr
Page 269 and 270: Jesus throughout Siddhartha's progr
Page 271: human feelings and desires. This in
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
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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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