21.02.2013
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2003 I sognatori/The Dreamers Screenplay: Gilbert Adair Cinematography: Fabio Cianchetti; Production Design: Jean Rabasse Editing: Jacopo Quadri; Production: Recorded Picture Company/Peninsula Films/ Fiction Films. 350
SELECT FILMOGRAPHY A bout de souffle (Breathless), Jean-Luc Godard, 1960. Amarcord (1remember), Federico Fellini, 1973. A Passage to India, David Lean, 1984. Avatar, James Cameron, 2009. Bronenosets Potemkin (Battleship Potemkin), Sergei Eisenstein, 1925. Buongiorno, notte (Good Morning, Night), Marco Bellocchio, 2004. Chinatown, Roman Polanski, 1974. C 'era una volta in America (Once Upon a Time in America), Sergio Leone, 1984. C 'era una volta il West (Once upon a Time in the West), Sergio Leone, 1968. Colpire al cuore (Blow to the Heart), Gianni Amelio, 1983. Deliverance, John Boorman, 1972. Deux ou trios choses que je sais d'elle (Two or Three Things I Know About Her), Jean-Luc Godard, 1966. Dr. Strangelove, Stanley Kubrick, 1964. Edipo re (Oedipus Rex), Pier Paolo Pasolini, 1967. E.T., Steven Spielberg, 1982. Guess WJio 's Coming to Dinner, Stanley Kramer, 1967. Histoire(s) du cinema, Jean-Luc Godard, 1988-98. // buono il brutto e il cattivo (The Good, the Bad and the Ugly), Sergio Leone 1966. II deserto rosso (Red Desert), Michelangelo Antonioni, 1964. In a Lonely Place, Nicholas Ray, 1950. Indagini su un cittadino al di sopra di ogni sospetto (Investigation of a Citizen Above Suspicion), Elio Petri, 1970. Intimacy, Patrice Chereau, 2001. Ipugni in tasca (Fists in the Pocket), Marco Bellocchio, 1965. Johnny Guitar, Nicholas Ray, 1954. 351
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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
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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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Rashomon, Akira Kurosawa, 1951. Rat
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