Abstract
Because of the heavy losses suffered during World War II, Italy in the 1950s was in desperate need of economic aid, and the United States, at the height of the Cold War, used economic assistance through their Marshall Plan to persuade the Italian Christian Democratic Party to reduce Communist and Socialist participation in important decision-making deliberations. American policy was facilitated by the presence of a Christian Democratic Italian Prime Minister Alcide de Gasperi, who, along with Charles De Gaulle of France and Konrad Adenauer of Germany, helped to give Western Europe stability after five years of war. By 1949 economic production had reached prewar levels and the ground was laid for what was called Italy’s “economic miracle”1 of the late 1950s and 1960s. Indeed, 1958 marks the beginning of Italy’s economic development when Italian economic production climbed to the seventh largest in the world.
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Notes
For more historical information about Italy, see Carlo Celli’s and M. Cottino-Jones’s New Guide to Italian Cinema (New York: Palgrave Macmillan, 2007).
For an enlightening discussion of Anna Magnani as an exceptional diva, see Millicent Marcus’s chapter titled “Luchino Visconti’s Bellissima: The Diva, the Mirror, and the Screen,” in her latest book, After Fellini: National Cinema in the Postmodern Age (Baltimore, MD: Johns Hopkins University Press, 2002), 39–58.
As quoted from his “Letter to a Marxist Critic,” published in La Strada, ed. Peter Bon-danella and Manuela Gieri (New Brunswick, NJ: Rutgers University Press, 1987), 211–14.
This axiom was formulated first in contemporary feminist criticism by Kate Millet in her book Sexual Politics (New York: Doubleday, 1970).
Peter Bondanella, The Cinema of Feder ko Fellini (Princeton, NJ: Princeton University Press, 1992), 213.
As explained by Paola Melchiori in her essay “Women’s Cinema: A Look at Female Identity,” in Off-Screen: Women and film in Italy, ed. G. Bruno (London: Routledge, 1988), 25–35.
See A. Aprà’s Raffaello Matarazzo (Savona, Italy: Quaderno del Noire Club, 1976).
See Ruby Rich’s “In the Name of Feminist Film Criticism,” in Issues in Feminist Film Criticism, ed. Patricia Erens (Bloomington, IN: Indiana University Press, 1990), 268–87.
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© 2010 Marga Cottino-Jones
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Cottino-Jones, M. (2010). A Woman’s Search for Change and Meaningful Relationships in the Films of the 1950s. In: Women, Desire, and Power in Italian Cinema. Italian and Italian American Studies. Palgrave Macmillan, New York. https://doi.org/10.1057/9780230105485_6
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DOI: https://doi.org/10.1057/9780230105485_6
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