Street Cries and Street Fights
Anna Magnani, Sophia Loren and the popolana
Bibliographic Data
| ID | 6127762 |
|---|---|
| Authors | Sarah Culhane (0009-0006-4928-5280, University of Bristol, corresponding author) |
| Year | 2017 |
| Volume | 37 |
| Issue | 2 |
| Pages | 254-262 |
| Publication date | 2017-05-04 |
| Open Access | No |
| Type | ARTICLE |
| Venue | The Italianist (JOURNAL) |
| Journal identifiers | ISSN: 1748-619X • E-ISSN: 0261-4340 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/02614340.2017.1332720 |
| OpenAlex | W2745216119 |
| Language | EN |
| Citations received | 2 |
This essay (and the accompanying video-essay) analyses the vocal and bodily performances of Anna Magnani and Sophia Loren across a series of scenes from four films – Campo de’ fiori (Mario Bonnard, 1943), L’oro di Napoli (Vittorio De Sica, 1954), Pane, amore e ... (Dino Risi, 1955) and Ieri, oggi, domani (Vittorio De Sica, 1963) – in which both actresses play street traders. The characters played by Magnani and Loren in these films (and numerous others) have been variously described as popolane. I begin by considering how, in the context of Italian star studies, the popolana has typically come to be understood as a lower-class woman of the people. With the help of video-essay analysis, I then move beyond this simplified view of the popolana to consider how specific elements of Magnani and Loren’s performance styles help to bring this archetype to life
Art · Art history · Italian Fascism and Post-war Society · Italian Literature and Culture · Political theory and Gramsci
| Citations per year | 0.29 |
|---|---|
| Citation span | 2019 - 2021 (3) |
| Highly cited | No |