21.02.2013
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Johnny Stecchino, Roberto Benigni, 1991. La Bete Humaine (The Human Beast/Judas was a Woman) Jean Renoir, 1938. La Chinoise, Jean-Luc Godard, 1967. La giusta distanza (The Right Distance), Carlo Mazzacurati, 2007. La notte di San Lorenzo (Night of Shooting Stars), Emilio and Vittorio Taviani, 1982. La ora de los homos (Hour of the Furnaces), Fernando E. Solanas, 1973. La regie dujeu (The Rules of the Game), Jean Renoir, 1939. La Stella che non c 'e (The Missing Star), Gianni Amelio, 2006. Les Carabiniers (The Soldiers), Jean-Luc Godard, 1963. Le notti di Cabiria (The Nights ofCabiria), Federico Fellini, 1957. Le petit soldat, Jean-Luc Godard, 1960. Local Hero, Bill Forsyth, 1983. L 'ora dipunta (The Trial Begins}, Vincenzo Marra, 2007. L 'ora di religione (The Religion Hour), Marco Bellocchio, 2002. Masculin feminin (Masculine, Feminine), Jean-Luc Godard, 1966. Modern Times, Charles Chaplin, 1936. Nosferatu, Friedrich Wilhelm Murnau, 1922. Nuovo Cinema Paradiso (Cinema Paradiso), Giuseppe Tornatore, 1988. Pepe le Moko, Julien Duvivier, 1937. Pierrot le Fou, Jean-Luc Godard, 1965. Philadelphia, Jonathan Demme, 1993. Poveri ma belli (A Girl in Bikini), Dino Risi, 1957. Pravda, Dziga Vertov Group, 1970. Psycho, Alfred Hitchcock, 1960. Pulp Fiction, Quentin Tarantino, 1994. Quo Vadis Baby?, Gabriele Salvatores, 2005. Raiders of the Lost Ark, Steven Spielberg, 1981. 352
Rashomon, Akira Kurosawa, 1951. Ratking, Jon Jones, 16/01/2011, 3 rd episode of Zen, 2011. Rear Window, Alfred Hitchcock, 1954. Rebel without a Cause, Nicholas Ray, 1955. Roma citta aperta (Rome Open City), Roberto Rossellini, 1945. Rouge (Red), (from Tftree Colours, preceded by Blue and White) Krzysztof Kieslowski, 1994. Salvatore Giuliano, Francesco Rosi, 1962. Sauve qui pent (le vie) (Every Man for Himself), Jean-Luc Godard, 1980. Stagecoach, Alan Ford, 1939. Star Wars, George Lucas, 1977. The Full Monty, Peter Cattaneo, 1997. The Postman Always Rings Twice, Tay Garnett, 1946. The Runaway Bride, Carry Marshall, 1999. The Silence of the Lambs, Jonathan Demme, 1991 The Wrong Man, Alfred Hitchcock, 1956. They Live by Night, Nicholas Ray, 1948. Toto che visse due volte (Toto Who Lived Twice). Cipri and Maresco, 1998. Unefemme est unefemme (A Woman Is a Woman), Jean-Luc Godard, 1961. Viaggio in Italia (The Lonely Woman), Roberto Rossellini, 1954 Vivre sa vie (My Life to Live), Jean-Luc Godard, 1962. Week-end, Jean-Luc Godard, 1967. Wild Strawberries, Ingmar Bergman, 1957. 353
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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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SELECT FILMOGRAPHY A bout de souffl
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