Articles for DWF
Articles for DWF
Erotism in cinema, 1978, n. 8, pp. 6-25
The author on the bases of psychoanalysis goes through the problem of erotism in cinema from the point of view of the construction of the feminine characters. She examines the mechanism of "pleasure" combined with cinematographical rituality and with the production of imagination centred in the symbology of the "vamp" and the "star". The article is concluded by a series of notes on the pornographical cinema and its psychological implications.
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Interview with Lotte Eisner, 1978, n. 8, pp. 93-96
Lotte H. Eisner is one of the very few women who wrote cinema and theatre criticism already in the 1920's and 30's. In this interview she remembers her critical work, and also traces a profile of some protagonists of those decades, especially the actress Louise Brooks.
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The divided self. Female identity in Margarethe von Trotta's films, 1998,
n. 37-38, pp. 47-60
All the women in von Trotta's films - de Miro argues - are marked by a new way of living their being women, with a hard found dignity and an inevitable, dramatic conflictuality. In her analysis of the language of these films, de Miro begins with an hypothesis: "The divided self which dominates von Trotta's films is also a metaphor for her work"; thus, a radical transgression is made visible: i.e. "the difficult task, for a woman, of entering the symbolic realm without forfeiting her originary link with the maternal, the unsayble, the physical-instinctual" - on the contrary, succeeding in representing it though cinematic discourse.
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Two or three things about them, 2005, n. 1
Thorough an excursus among the mutual interests between eastern e western culture,
the autor tries to outline the preminent "female" tendence in the
Chinese - e sometime also Japanese - cinema. The dialectic relationship between
the oriental principles of the yin e the yang produces woman characters that,
in spite of their cult of beauty e fascination, are not only feminine but also
energetic e indipendent.
An other important component of the Chinese cinema is the reelaboration of the past, to rethink it with a modern consciousness e sensibility, in a particular mood of love e nostalgia. The mutual attirance between East e West can produce a happy synthesis, like the italian film of Ermanno Olmi Singing behind the screens.