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EnglishItalian female stars of the 1950s are often subject to the gaze of male characters as they dress or undress. In this article, I analyse this cliché and others, such as dances, partial stripteases, and guest appearances, as textual topoi, in order to define how visual attractions attained a narrative function consistent with the fragmentary character of that cinema. The frequent visual linking of feminine beauty and consumer goods also helps to re-frame, historiographically, the issue of stardom in the early 1950s, and to identify that period as a complex one in which the female body was no longer visualized as an element able to link the cinematic representation to a supposed state of nature, but not yet displayed as a completely commodified object.
| Titolo: | 'Che credeva, che fossi Cenerentola!': Changes of clothes, guest appearances, and other diva performances in 1950s cinema | |
| Autore/i: | NOTO, PAOLO | |
| Autore/i Unibo: | ||
| Anno: | 2015 | |
| Rivista: | ||
| Digital Object Identifier (DOI): | http://dx.doi.org/10.1179/0075163415Z.000000000108 | |
| Abstract: | Italian female stars of the 1950s are often subject to the gaze of male characters as they dress or undress. In this article, I analyse this cliché and others, such as dances, partial stripteases, and guest appearances, as textual topoi, in order to define how visual attractions attained a narrative function consistent with the fragmentary character of that cinema. The frequent visual linking of feminine beauty and consumer goods also helps to re-frame, historiographically, the issue of stardom in the early 1950s, and to identify that period as a complex one in which the female body was no longer visualized as an element able to link the cinematic representation to a supposed state of nature, but not yet displayed as a completely commodified object. | |
| Data stato definitivo: | 2016-01-13T01:40:59Z | |
| Appare nelle tipologie: | 1.01 Articolo in rivista |
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http://hdl.handle.net/11585/530212
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