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Potere e affetti nel cinema di Marco Bellocchio fino a "Vincere": il contrappunto
Journal Title: PSICOBIETTIVO 
Author/s: Caterina Selvaggi 
Year:  2009 Issue: Language: Italian 
Pages:  22 Pg. 157-178 FullText PDF:  351 KB
DOI:  10.3280/PSOB2009-002011
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in Marco Bellocchio’s movies up to "VINCERE": the counterpoint - The Author analyses some famous films of Marco Bellocchio ("L’ora di religione", "I pugni in tasca", "La balia", "Enrico IV", "Il principe di Homburg", "Il gabbiano", "Buongiorno notte" e "Vincere"), underlining the director’s expressive stile: he privileges oppositions and, in the sometime, links between opposites, counterpoint between images and dialogues, as well as between noises and sounds. The importance of non verbal communication, which can be in contrast with dialogues, is represented particularly in complex family situations, which are surprisingly similar to those that in family therapy are called "en meshed families". It is particularly emphasised the relationship between power and affections that appears as a contradictory relationship which put persons in oppositions but, in the some time, produces links difficult to untie.
Keywords: Bellocchio; Power; Affections; Family; Links; Counterpoint.

Caterina Selvaggi, in "PSICOBIETTIVO" 2/2009, pp. 157-178, DOI:10.3280/PSOB2009-002011

   

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