This article by Terri Ginsberg was a challenging read. The author suggests that Italian Neorealist films use radical/sexual themes to portray deeper, sociopolitical themes & patriarchal/capitalism hegemony. Hegemony (something the author expects the reader to know) is when when the dominant group uses it's power over other groups in society. It can be political, economic, cultural or ideological power. Ginsberg claims that the Neorealists supported & helped exert the power of a patriarchal, capitalist society. The two films he uses as examples are Rome, Open City directed by Roberto Rosselini & Ossessione directed by Luchino Visconti.
Ginsberg begins by explaining that the best way to critically read these films is to look at the way homosexuality (verses heterosexuality) are portrayed in these films. He says that, rather then representing material sexuality, the use of homosexuality in these films is an "indicator of all that is wrong with society the signifier of the transgression of bourgeois humanist mores." However, though it shows what is wrong in society, it is shown as never being a real threat to the "system" aka bourgeois society.
Rome, Open City is the first film analyzed. In Roma, homosexuality is used in a way that suggest "psychic ambivalence," or an inability to choose a role. This fickle attitudede is in contrast with heterosexuality where gender roles are stable. In the film, homosexuality plays a role in the relationship between Ingrid (an agent for the Gestapo, a Nazi) & Marina (an actress & informant of Ingrid's). Their homosexualities are allegories for the socially & politically "sinful" activities they are involved with. The way Ingrid is first presented is significant to how the audience perceives (perhaps subconsciously) her role. She is first shown as only a reflection in the mirror Marina is looking in. This reflection shows that Ingrid has no depth is only a representation of the "imperialist exploitation" taking place, a stereotypical, heartless Nazi. Therefore, Nazism can be seen as not a material phenomenon, but as sexual perversion - bringing up the audience's negative feelings about such things. Marina is not a Nazi or a German though, she is an Italian. She is shown as being guilt ridden & vulnerable, giving her a character with more depth & more easily empathized with. She is shown as being the one seduced by Ingrid, suggestion perhaps that Italy's compliance with Nazism was a moment of weakness & not of character. Marina is also shown swaying between homosexuality & heterosexuality, since she is in love with a man as well as having a relationship with Ingrid. Marina is portrayed as delicate & feminine, while Ingrid is portrayed in a more masculine light. By showing the relationship in this way, homosexuality is seen as a ridiculous impossible love that is ultimately no threat to the patriarchal dominance.
What's interesting is that there is one other portrayal of homosexuality in this film. The gestapo, Major Bergman, is implicitly homosexual. Unlike the female same-sex relationship however, the gestapo is single & has no partner. Therefore, it seems to point to the fact that female sexuality is a greater threat to "hegemonic stability" than male sexuality.
Ginsberg also analyzes the film Ossessione. He suggests that it is an allegorical representation of Christian democracy & Italian communism. These two views are posed as the only conceivable stances to take since they are politically organized, while anything other that is politically radical is inconceivable. This is shown through the homosexual relationship between Gino (drifter) & Lo Spagnuolo (traveling performer, "citizen of the world") in contrast to the heterosexual relationship of Gino & Giovanna (a married woman). The homosexuality shown deals with a drifter & is thus showing the futility & harm of drifting aka not choosing one of the preferred paths before mentioned. Gino, just like Marina, is constantly swinging between a homosexual & heterosexual orientation. He has relationships with both a man (Lo Spagnuolo) & a woman (Giovanna). The heterosexual relationship is much more complicated than the homosexual one. It also is conjoined with the "dominant ideological structures" such as Giovanna's wife. The homosexual relationship seems to almost be a relationship between alter egos, which is destructive, pointless & unrealistic. It shows that the heterosexual, patriarchal dominant system is clearly the better choice. Gino is directionless & must choose which path to take (choice being significant in a capitalistic economy). The relationship between the two men is also shown to be amoral & wrong (allegorically) when Lo Spagnuolo admits his pseuodonym & thus his falsity, to the police. Therefore, heterosexuality, a metaphor for an organized, patriarchal economy, is the only position that is able to be expressed.
Citation:
Nazis and Drifters: The Containment of Radical (Sexual) Knowledge in Two Italian Neorealist Films. Author: Terri GinsbergSource: Journal of the History of Sexuality, Vol. 1, No. 2 (Oct., 1990), pp. 241-261. Published by: University of Texas
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