Abstract

This article argues that Giulietta Masina’s hyperbolic physicality in Nights of Cabiria (Le notti di Cabiria; Federico Fellini, 1957) intervenes in earlier representations of wartime suffering. With Bazin’s theories of Chaplin’s slapstick at hand, Masina’s comedic gestures can be seen as exposing the subjective and geopolitical limits of how postwar Italian neorealism made history with bodies.

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Additional Information

ISSN
2578-4919
Print ISSN
2578-4900
Pages
pp. 93-116
Launched on MUSE
2014-01-22
Open Access
No
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