«È l'arte che conta non l'età». "Aging", divismo e protagonismo femminile in "Siamo donne"

The film Siamo donne (We, the Women, 1953), written by Cesare Zavattini and divided into five episodes, represents an iconic case study to observe women of different ages and belonging to distinct generations. On the one hand, the first episode focuses on the ambitions of the young girls participat...

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Main Author: Myriam Mereu
Format: Article
Language:Italian
Published: Università degli Studi di Milano 2021-12-01
Series:Schermi
Subjects:
Online Access:https://riviste.unimi.it/index.php/schermi/article/view/15391
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author Myriam Mereu
author_facet Myriam Mereu
author_sort Myriam Mereu
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description The film Siamo donne (We, the Women, 1953), written by Cesare Zavattini and divided into five episodes, represents an iconic case study to observe women of different ages and belonging to distinct generations. On the one hand, the first episode focuses on the ambitions of the young girls participating at the contest “Four stars and a starlet”; on the other hand, the following episodes, starring four celebrities playing the part of themselves, highlights the disillusions and regrets of mature women both in their private and professional life. Work, household, motherhood, and nostalgia are the main topics that interrelate with the portrayals of female aging provided by each episode. The film is a valuable opportunity to reflect upon the practices of cinema consumption and stardom in the 50s, especially from the contestants’ point of view. Throughout the analysis, we will also pay attention to voice over narration and the function of acousmatic voice as a memory device and expression of female subjectivity.
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spelling doaj.art-738fb2a01b0b40fa90a5dfbaef9a5b092024-02-11T18:43:29ZitaUniversità degli Studi di MilanoSchermi2532-24862021-12-0161010.54103/2532-2486/15391«È l'arte che conta non l'età». "Aging", divismo e protagonismo femminile in "Siamo donne"Myriam Mereu0Università degli studi di Cagliari The film Siamo donne (We, the Women, 1953), written by Cesare Zavattini and divided into five episodes, represents an iconic case study to observe women of different ages and belonging to distinct generations. On the one hand, the first episode focuses on the ambitions of the young girls participating at the contest “Four stars and a starlet”; on the other hand, the following episodes, starring four celebrities playing the part of themselves, highlights the disillusions and regrets of mature women both in their private and professional life. Work, household, motherhood, and nostalgia are the main topics that interrelate with the portrayals of female aging provided by each episode. The film is a valuable opportunity to reflect upon the practices of cinema consumption and stardom in the 50s, especially from the contestants’ point of view. Throughout the analysis, we will also pay attention to voice over narration and the function of acousmatic voice as a memory device and expression of female subjectivity. https://riviste.unimi.it/index.php/schermi/article/view/15391Italian cinemaItalian womenAgingStardomAcousmatic voice
spellingShingle Myriam Mereu
«È l'arte che conta non l'età». "Aging", divismo e protagonismo femminile in "Siamo donne"
Schermi
Italian cinema
Italian women
Aging
Stardom
Acousmatic voice
title «È l'arte che conta non l'età». "Aging", divismo e protagonismo femminile in "Siamo donne"
title_full «È l'arte che conta non l'età». "Aging", divismo e protagonismo femminile in "Siamo donne"
title_fullStr «È l'arte che conta non l'età». "Aging", divismo e protagonismo femminile in "Siamo donne"
title_full_unstemmed «È l'arte che conta non l'età». "Aging", divismo e protagonismo femminile in "Siamo donne"
title_short «È l'arte che conta non l'età». "Aging", divismo e protagonismo femminile in "Siamo donne"
title_sort e l arte che conta non l eta aging divismo e protagonismo femminile in siamo donne
topic Italian cinema
Italian women
Aging
Stardom
Acousmatic voice
url https://riviste.unimi.it/index.php/schermi/article/view/15391
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