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Erschienen in:
2013 | OriginalPaper | Buchkapitel
Grotesque Bodies, Fragmented Selves
Lina Wertmüller’s Women in Love and Anarchy (1973)
verfasst von : Claudia Consolati
Erschienen in: Italian Women Filmmakers and the Gendered Screen
Verlag: Palgrave Macmillan US
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Lina Wertmüller’s now classic 1970s films might seem the quintessential incarnation of feminist Claire Johnston’s call for a women’s political countercinema operating within the codes of the traditionally patriarchal entertainment film.1 The Italian filmmaker has in fact repeatedly proclaimed her lifelong love affair with popular cinema. “My greatest desire is to make popular cinema,” Wertmüller states in a 1976 interview with Paul McIsaac and Gina Blumenfeld,2 while a year later, in a conversation with Gideon Bachmann, she specifies, “I have made a decision for popular work because I have chosen a form that should reach as far as possible.”3 Simultaneously, her films of the time—Love and Anarchy, Swept Away, and Seven Beauties in particular—deal with issues dear to feminism, such as women’s social roles, and rights and gender power relations.