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Section 5; Women at the Forefront La luna (1979); lo hallo da sola/Stealing Beauty (1996); L 'assedio/Besieged (1998) Within Bertolucci's body of work, these three films are characterized by their emphasis on female characters as protagonists, namely Caterina, Lucy and Shandurai respectively. Yet, paradoxically, none of these characters are as striking and memorable as figures such as Anna Quadri, Jeanne, and Elizabeth (Pu Yi's first wife). One reason for this is perhaps that they are inserted in relatively uncomplicated and undemanding narratives, and that - fundamentally - they are cyphers through which Bertolucci identifies issues that go beyond the characters' personal circumstances in the films. In particular, Caterina in La luna seems to function as a symbolic representation of America and its film audiences, having seemingly become unreachable for Bertolucci after the debacle of 1900, as Caterina is for her son Joe. Lucy, in Stealing Beauty, represents the medium through which the film addresses the issue of the female condition in consumer society; whereas through Shandurai, in Besieged, the director returns to existentialist questions, this time linked to the human condition when estranged through living in a foreign country. These elements affect the development of the three protagonists in terms of their narrative importance; since they seem to be symbols representing other, often intellectual agendas, this has repercussions on the viewer's affective engagement with them, in the sense that even the empathic phenomena usually present in Bertolucci's film-making are used sparingly and with varying results. In general, all three films fail to engender much of a 'pro-attitude' towards characters, (Carroll, 1999:31) although there are different degrees of intentionality on Bertolucci's part regarding this outcome. 270
In all three films it is possible to observe a pervasive extra-diegetic narration that indicates the presence of an implied author. In addition, although their narratives assume a telic form, this is gradually sidetracked by their narrations which often activate memory associations, thus creating viewing experiences typified by a saturated modal quality (Grodal, 1997: 136). Additionally, La luna, Stealing Beauty and Besieged conform to Bertolucci's stylistic tendency to offer viewers rich aesthetic experiences through his use of landscapes, sets and cinematic techniques, an approach which, again, constitutes the focus of these films' affective charge rather than any sustained viewer/character attachments. References Carroll, N. (1999) 'Film, Emotion and Genre', in Plantinga, C. and Smith, G. (ed.) Passionate Views, Baltimore: The John Hopkins University Press. Grodal, T. (1997) Moving Pictures, Oxford: Oxford University Press. 271
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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
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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: diminishing because of Western soci
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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
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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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