SARAH GADON RUSSIA: ноября 2015

вторник, 24 ноября 2015 г.

Neorealism’s Closed Gates: The Women of Rome, Open City

Сара написала статью для издания «Cleo» - журналe о кино и феминизме. Ниже представлена статья на языке оригинала, перевод чуть позже.

By: Sarah Gadon

It was shortly after the Toronto International Film Festival this year when Kiva Reardon asked me if I had anything to contribute to this issue of cléo. I had just screened Sicario by Denis Villeneuve, a director with whom I’ve had the pleasure of working. There has been a lot of talk about Emily Blunt’s character in this film (she plays a law enforcement officer on the frontlines of the so-called war on drugs), and whether or not she attains any true agency. Often in cinema women hold contradictory roles fraught with tension— strong and self-possessed actors try to reconcile the archetypal images projected onto them by male directors. This made me think of Pina from Roberto Rossellini’s Rome, Open City (1945). Below is a condensed version of an essay I wrote while studying at the University of Toronto in the Cinema Studies department. It looks at the marginalized women of neorealism, but I think it pertains to many of the roles that women are given in contemporary cinema.

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