Final published version
Research output: Contribution to Journal/Magazine › Journal article › peer-review
Research output: Contribution to Journal/Magazine › Journal article › peer-review
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TY - JOUR
T1 - Re-reading Marina
T2 - Sexuality, materialism and the construction of Italy
AU - Holdaway, Dominic
AU - Missero, Dalila
PY - 2018/7/31
Y1 - 2018/7/31
N2 - In this article, we propose a reading of the historical relevance of Roberto Rossellini’s Roma città aperta (Rome, Open City) (Rossellini, 1945) in relation to one of the lesser-studied characters: Marina Mari (played by Maria Michi). The characterof Marina has been subjected to critical negative responses centred on her narrative function, the betrayal of the Resistance movement or the ‘corrupt’ persona of the actress. We argue that Marina, in fact, embodies the convergence of a series of gender, genre, social and historic dynamics that have exceptional symbolic relevancefor Italian cinematic and social history. We begin with an overview of the connection between Rome, Open City and the antifascist, re-foundational rhetoric that emerged after the Second World War, which ‘preserved’ Italian national identity by assigning culpability to the Germans alone. Following this, through a carefulre-reading of her narrative function and visual representation, we demonstrate the radicalness of Marina’s sexual and social identity.
AB - In this article, we propose a reading of the historical relevance of Roberto Rossellini’s Roma città aperta (Rome, Open City) (Rossellini, 1945) in relation to one of the lesser-studied characters: Marina Mari (played by Maria Michi). The characterof Marina has been subjected to critical negative responses centred on her narrative function, the betrayal of the Resistance movement or the ‘corrupt’ persona of the actress. We argue that Marina, in fact, embodies the convergence of a series of gender, genre, social and historic dynamics that have exceptional symbolic relevancefor Italian cinematic and social history. We begin with an overview of the connection between Rome, Open City and the antifascist, re-foundational rhetoric that emerged after the Second World War, which ‘preserved’ Italian national identity by assigning culpability to the Germans alone. Following this, through a carefulre-reading of her narrative function and visual representation, we demonstrate the radicalness of Marina’s sexual and social identity.
U2 - 10.1386/jicms.6.3.343_1
DO - 10.1386/jicms.6.3.343_1
M3 - Journal article
VL - 6
SP - 343
EP - 358
JO - Journal of Italian Cinema & Media Studies
JF - Journal of Italian Cinema & Media Studies
SN - 2047-7368
IS - 3
ER -