TOPICS
European critical democracy
The mythical core of European postmodern transnational fascism.
Cosmopolitan distance and interstices between cosmopolitan Europe and Italy
Migrations and Italian postcolonial melancholia
National Identity in Italy.
The cretinisation of women in contemporary Italian culture.
Aesthetic Rave. The female body and politics of oblivion and transformation in the berlusconi era.
Necrotic influences and cultural and epistemological models during the Berlusconi years.
Women in modern Italian society in the context of the Berlusconi decades.
Body of the South: women and land. Berlusconi, Southern clans and the politics of oblivion.
Deus ex Machina. Sociolinguistic considerations regarding language in the public sphere in Berlusconi times.
I took part to the rountable on media, sexuality and power and I was thrilled by the presentations and discussion that followed. The debate was exciting and instructive and a good place to start to debate the issue of female representation in the Berlusconi era.
ReplyDeleteMy name is Enrica Picarelli and I am a phD candidate in sociology and television culture at the University of Naples, "L'Orientale", so I am particularly interested in the dynamics of production and "responsivity" that involve the discoursive and visual production of the female body.
Here is a sequence from "Sabato, Domenica e Lunedì" (1990) directed by Lina Wertmüller starring Alessandra Mussolini,leader of the National Conservative Party known as Azione Sociale (Social Action).
http://www.youtube.com/watch?v=BEfHVje--70
[Further information on the movie can be found at: http://www.imdb.com/title/tt0098244/]
This is the last time she acted before being elected in 1992 in a neapolitan consituency but her career counts at least ten films.
It could be interesting to focus on the sequence in light of Stephen Gundle's Bellissima (2007) that discusses the canonization of Italian female beauty. I believe the theatralization of A. Mussolini's body problematizes Berlusconi's 'colonization' of the bodies of other female members of the Italian parliament which apparently accept being treated as mute puppets.
Mussolini's 'voice' -- not necesseraly in the movie but on the parliamentary scene -- is instead unruly, oscillating between aggression and accomodation, thus occupying a 'fringe' presence on the landscape of docile female bodies deployed by B.
How is she contributing to shape contemporary politics and 'berlusconismo'? Can she be paired with Daniela Santanché (another conservative aggressive voice in the parliament)? And finally, how is her presence -- especially her assertive 'tone' and voice' -- affecting her female electorate? We should not forget that while Mussolini is in herself a very aggressive figure, her political project implies a silent female electorate and the silencing of the rights of migrant women.