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1972 Ultimo tango a Parigi/ Last Tango in Paris Screenplay: Bernardo Bertolucci, Franco Arcalli Cinematography: Vittorio Storaro; Production Design: Ezio Frigerio Editing: Franco Arcalli; Music: Gato Barbieri Production: PEA/Artistes Associes. 1976 Novecento/1900 Screenplay: Bernardo Bertolucci, Franco Arcalli, Giuseppe Bertolucci Cinematography: Vittorio Storaro; Production Design: Ezio Frigerio Editing: Franco Arcalli; Music: Ennio Morricone Production: PEA/Artistes Associes/Artemis Film. 1979 La luna/Luna Screenplay: Bernardo Bertolucci, Giuseppe Bertolucci, Clare Peploe Cinematography: Vittorio Storaro Production Design: Maria Paola Maino, Gianni Silvestri Editing: Gabriella Cristiani; Production: Fiction Cinematografica/20 th Century Fox. 1981 La tragedia di un uomo ridicolo/The Tragedy <strong>of</strong> a Ridiculous Man Screenplay: Bernardo Bertolucci Cinematography: Carlo Di Palma; Production Design: Gianni Silvestri Editing: Gabriella Cristiani; Music: Ennio Morricone Production: Fiction Cinematografica/The Ladd Company. 1987 L 'Ultimo Imperatore/Tlie Last Emperor Screenplay: Bernardo Bertolucci, Mark Peploe with Enzo Ungari Cinematography: Vittorio Storaro; Production Design: Ferdinando Scarfiotti 348
Editing: Gabriella Cristiani; Music: Ryuichi Sakamoto Production: Recorded Picture Company/Tao Film, in association with the China Film Coproduction Corporation. 1990 H te nel deserto/The Sheltering Sky Screenplay: Bernardo Bertolucci, Mark Peploe Cinematography: Vittorio Storaro; Production Design: Gianni Silvestri Editing: Gabriella Cristiani; Music: Ryuichi Sakamoto Production: Sahara Company, Recorded Picture Company/Tao Film. 1993 Piccolo Buddha/Little Buddha Screenplay: Bernardo Bertolucci, Rudy Wurlitzer, Mark Peploe Cinematography: Vittorio Storaro; Production Design: James Acheson Editing: Pietro Scalia; Music: Ryuichi Sakamoto Production: Sahara Company, Recorded Picture Company/Ciby 2000. 1996 lo ballo da sola/Stealing Beauty Screenplay: Susan Minot, Bernardo Bertolucci Cinematography: Darius Khondji; Production Design: Gianni Silvestri Editing: Pietro Scalia; Music: Richard Hartley Production: Recorded Picture Company/UGC Images. 1998 L'assedio/Besieged Screenplay: Bernardo Bertolucci, Clare Peploe Cinematography: Fabio Cianchetti; Production Design: Gianni Silvestri Editing: Jacopo Quadri; Music: Alessio Vlad Production: Fiction Films/Navert Films/Mediaset/BBC. 349
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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
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References Bachmann, G. (1973) 'Eve
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The success of The Last Emperor ena
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L 'ultimo imperatore/The Last Emper
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out; the red of a notice on the wal
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The intellectual implications of th
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the Forbidden City. This, combined
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Japanese. His personality fits the
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the belief that whereas language ma
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In addition, the presence of a hist
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(2009) is one recent, successful ex
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Gaut, B. (1999) 'Identification and
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working class people depicted in th
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strengthening viewers' alignment wi
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experience of being out of clock ti
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where the contemplation of this inf
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infinite. In his discussion of sour
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camera's 'symbiotic fusion' with th
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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
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: Cinematography: Giovanni Narzisi; P
Page 355 and 356: SELECT FILMOGRAPHY A bout de souffl
Page 357 and 358: Rashomon, Akira Kurosawa, 1951. Rat
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