Public Life, Imaginary, and Identity in Contemporary Italian Film
Edited By Giancarlo Lombardi and Christian Uva
Laura Di Bianco - Francesca Comencini: Women Outside the Polis
| 172 →
Still capture from Lo spazio bianco, by Francesca Comencini (Fandango, Rai Cinema)
| 173 →
LAURA DI BIANCO
Francesca Comencini: Women Outside the Polis
Since the mid-1980s, Francesca Comencini has alternated between fiction and documentary films that focus on social and political matters central to contemporary Italian society. Particularly in the last decade, through films centred upon complex female characters dealing with male power, she articulates a discourse on the condition of women in twenty-first-century Italy: their struggle to reconcile motherhood and paid work, the challenges of motherhood outside the family structure, and the objectification of women’s bodies, all themes that have also been at the centre of the feminist political agenda since the 1970s.
In Comencini’s cinema, women’s subjectivity is repeatedly set in urban contexts, creating a correspondence between the characters’ identity and the space they inhabit. In this article, which is part of a larger research project on Italian women film-makers and their representation of urban space,1 I shall concentrate on four of Comencini’s feature films: Mi piace lavorare (Mobbing) (2004), A casa nostra (2006), Lo spazio bianco (2009), and Un giorno speciale (2012), which all engage in a discourse on women’s bodies, inscribing them into the urban landscape. I argue that in these films, women live outside the polis, that is, the political entity (classically the ‘city-state’) ruled by a body of citizens. The image of the city, in all the...
You are not authenticated to view the full text of this chapter or article.
This site requires a subscription or purchase to access the full text of books or journals.
Do you have any questions? Contact us.Or login to access all content.