Potere e affetti nel cinema di Marco Bellocchio fino a "Vincere": il contrappunto

Author/s Caterina Selvaggi
Publishing Year 2010 Issue 2009/2 Language Italian
Pages 22 P. 157-178 File size 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, Potere e affetti nel cinema di Marco Bellocchio fino a "Vincere": il contrappunto in "PSICOBIETTIVO" 2/2009, pp 157-178, DOI: 10.3280/PSOB2009-002011