LEADER 03617cam a2200361Ia 4500001    39600
005    20240621144258.0
008    991025s1994    xx      r     000 0 eng d
035    (OCoLC)42696167
035    39600
049    LHMA
040    LHM |beng |erda |cLHM
090    PN1995.9.W6 |bR45 1994
100 1  Reich, Jacqueline Beth.
245 10 Fascism, film, and female subjectivity : |bthe case of Italian cinema 1936-1943 / |cby Jacqueline Beth Reich.
264  1 [Place of publication not identified] : |b[publisher not identified], |c1994.
300    v, 249 pages
336    text |btxt |2rdacontent
337    unmediated |bn |2rdamedia
338    volume |bnc |2rdacarrier
502    Thesis (Ph. D.)--University of California at Berkeley, 1994.
504    Includes bibliographical references (pages 234-249).
520    This dissertation examines the construction of female subjectivity in Italian commercial cinema of late Fascism, from 1936 to 1943. During this period, the government increased its intervention in the film industry, with the aim of using cinema as a cultural tool to help construct the ideal Fascist woman. Nevertheless, the era's ideologically-aligned cinematic production did not completely conform to Fascist gender ideology for several reasons. First, there was a decided lack of absolute control over the filmmaking process, allowing many potentially subversive texts to slip through government hands. Second, in turning to Hollywood cinema for its textual models, Italian commercial cinema neglected the implications of contextual spectatorship. These films introduced alternative representations of female subjectivity to the ones propagated by the regime, providing new models of appearance and behavior for the contemporary female spectator. These diverse female subject positions often found their expression in a specific narrative construction typical of classical cinema: the ideological collision between the primary and secondary female characters, one of whom personifies proper female subjectivity in accordance with the dominant ideology and the other the negative example. However, the tensions released and the conflicts expressed in the relationship between the female characters, although solved in a manner befitting Fascist imperatives, exposed the very inconsistencies in Fascist discourses on gender and the regime's perpetual struggle to enforce them. This study examines over twenty films which give voice to these conflicts and contradictions. Chapter One elucidates how Italian commercial cinema, in eschewing more overt propaganda and in relying instead on the classical Hollywood formula as textual guide, opened itself up to potential deviations and subversions from Fascist ideological constructs, particularly with respect to women. Each subsequent chapter is organized around one area of state intervention in women's lives--work and leisure, education, and the family--and how cinematic representations of working women, schoolgirls, wives, and mothers strongly differed from their corresponding Fascist ideals.
530    Electronic version(s)  |bavailable internally at USHMM.
533    Photocopy. |bAnn Arbor, Mich. : |cUMI Dissertation Services, |d1999. |e22 cm.
590     Dissertations and Theses
591    Record updated by Marcive processing 21 June 2024
650  0 Women in motion pictures.
650  0 Fascism and women |zItaly.
956 41  |u http://dc.ushmm.org/library/bib39600/9529467.pdf  |z Hosted by USHMM.
994    E0 |bLHM
852 0   |bstacks |hPN1995.9.W6 R45 1994
852     |bebook