Index
Accattone (Pasolini), 165
Adorno, Theodor, 45
Agamben, Giorgio, 227–28, 286n13
Agnelli, Giovanni, 103
Althusser, Louis, 20, 112–13, 122
Antonioni, Michelangelo, 3–11, 110, 111, 115, 275n42
Ape Woman, The (Ferreri), 85–93, 119, 125
aporia, 8, 16–19, 21, 24, 27, 31
Arabian Nights, The (Pasolini). See Trilogy of Life
Arsenjuk, Luka, 267–68n32
Auerbach, Erich, 9, 25–26, 266n15
Aumont, Jacques, 26
Autonomia (political movement), 2, 33, 83, 130, 268n37
Autunno caldo (hot autumn), 36
Average Little Man, An (Monicelli), 159–63
Badiou, Alain, 8–9, 12, 37, 43, 68, 109, 131, 171–72, 182, 220, 251, 264n6, 264n12, 265n2, 267n30, 285n54
Balestrini, Nanni, 130
baroque: and allegory, 249–50; architecture, 199; drama, 13, 225–30, 242
Barthes, Roland, 225, 231, 236–38
Battle of Algiers, The (Pontecorvo), 255
Bebel, August, 82
Before the Revolution (Bertolucci), 131–40, 141, 142, 144, 145, 146, 148, 163, 179
Bellocchio, Marco, 3–12, 132, 145, 147, 149, 160, 180, 277n6
Benjamin, Walter, 226–29, 231, 234–35, 242, 249–50
Benston, Margaret, 82
Berardi, Franco Bifo, 2
Bertolucci, Bernardo, 3–12, 132, 134, 139, 140, 144, 149, 160, 180
Bicycle Thieves (De Sica), 128
Biennio Rosso (two red years), 35
Bisoni, Claudio, 5
Bologna, Sergio, 2
Brenner, Robert, 194
Bye Bye Monkey (Ferreri), 121
Cahiers du cinéma, 19, 20, 22, 24, 266n7, 266n11
Caligari, Claudio, 6, 153, 155–57, 159, 160, 180, 278n23
Calvino, Italo, 147
Cannibals, The (Cavani), 149–53, 178, 180
Canterbury Tales, The (Pasolini). See Trilogy of Life
Casarino, Cesare, 86, 99, 100–101, 108, 174, 257, 281n26
Cavani, Liliana, 3–12, 149, 150, 151, 152, 153, 180, 279–80n7
centralità operaia (workers’ centrality), 79, 129
Chaplin, Charlie, 52
Cherchi, Grazia, 145–46, 147, 277n6
Children Are Watching Us, The (De Sica), 128
Christian Democrats (Democrazia Cristiana, DC), 6, 187, 200, 216, 218, 224, 236–37, 239–41, 249, 283n13
cinema d’impegno, 1; and medietas, 4–6; and militant leftist critics, 6–7; as rosipetrismo, 284n7
cinema verité, 66
Cinema&Film, 7
Combahee River Collective, 82
Come Play with Me (Samperi), 4, 132, 140–44, 145, 146, 148, 152, 169, 173, 179
Communist Party USA, 82
Comolli, Jean-Louis, 19–24
conspiracy, 1, 12, 63, 185, 188–90, 193–202, 205, 229–30
Cremonini, Leonardo, 112–13, 124
Dalla Costa, Mariarosa, 2, 11, 82, 94
Damiani, Damiano, 1
Daney, Serge, 232
Davis, Angela, 82
Decameron, The (Pasolini). See Trilogy of Life
Deleuze, Gilles, 27–28, 71–72, 73–74, 99, 120–21, 124, 131, 267n24, 272n39
Derrida, Jacques, 8, 12, 16, 183–85, 189–90, 207, 216, 219–20
Didi-Huberman, Georges, 8, 26, 30
Dillinger Is Dead (Ferreri), 85, 109, 118–26, 207
di Palma, Dario, 62
Doane, Mary Ann, 91
drive-image (Deleuze), 120–25
Ecce Bombo (Moretti), 153–59
economic miracle, 32, 85, 110, 128, 174, 200
ENI (Ente Nazionale Idrocarburi), 186, 189, 191
Fachinelli, Elvio, 133
Federici, Silvia, 2, 11, 82–84, 90, 96
Ferreri, Marco, 3–11, 86, 88, 89, 90, 93, 119, 120, 124, 125, 242, 244, 247, 273n12
FIAT (auto company), 10, 54, 56, 58, 66, 68, 70, 73, 75, 78–79, 103, 270n18, 278–79n25
figure, 2; and allegory, 249–52; in art history, 25; as con-figuration, 7–9; dialectic of, 2, 26–27, 29–32; and history, 28–33; and iconicity, 25; and political subjectivity, 28, 30–33; as tension-figure (Bloch), 29–30, 36. See also political cinema
Firestone, Shulamith, 82
Fists in the Pocket (Bellocchio), 131–32, 145–49, 169, 173
Fortunati, Leopoldina, 11, 82, 101–2, 274n28
French Communist Party (Parti Communiste Français, PCF), 139
Germany Year Zero (Rossellini), 128, 213
Giordana, Marco Tullio, 13, 186, 213, 214
Giotto, 27
Gospel According to Saint Matthew, The (Pasolini), 165, 168
Grande Bouffe, La (Ferreri), 223–29, 241–48, 249, 251, 285–86n1
Guattari, Félix, 131
Hawks and the Sparrows, The (Pasolini), 168
Heidegger, Martin, 71
I Am Self-Sufficient (Moretti), 153–59
ideology critique (film studies), 19–24
Ignatius of Loyola, Saint, 224, 237–38, 240–41
Italian Communist Party (Partito Comunista Italiano, PCI), 6, 55, 58, 67, 72, 138–39, 239
James, Selma, 82
Jameson, Fredric, 77, 188–89, 190, 192, 193, 250
Jones, Claudia, 82
Kinkle, Jeff, 209
Kollontai, Alexandra, 82
Lacan, Jacques, 37, 41, 42, 134, 155–57, 159, 172–76, 179, 182, 197, 209, 210, 215–17, 229–31, 234–35, 242–43, 245, 247
Lazarus, Sylvain, 53
Lazzarato, Maurizio, 64
Lizzani, Carlo, 1
Loren, Sophia, 104
Lotta continua (political organization), 67, 213, 217
Mainardi, Pat, 82
Mamma Roma (Pasolini), 165
Manilius, 9
Marx, Karl, 41–42, 44, 48, 77, 90, 113, 120, 122, 123, 207–11, 240–41, 275n42
Mattei, Enrico, 186–92, 283n13
Mattei Affair, The (Rosi), 185, 186–92, 193, 194, 196, 201, 213
Miccicché, Lino, 67
Millett, Kate, 82
Mitchell, Juliet, 92, 273n15, 274n32
Montaldo, Giuliano, 1
Moretti, Nanni, 6, 153–57, 159, 160, 278n23
Moro, Aldo, 216, 218, 224, 237, 239, 285–86n1
Moroni, Primo, 130
Morricone, Ennio, 39
Morton, Peggy, 82
Mussolini, Benito, 97, 103, 162
Narboni, Jean, 19–24
Negri, Antonio, 2, 51, 130, 269n3
neorealism, 71–72, 100–101, 128, 132
Nietzsche, Friedrich Wilhelm, 60, 63
nonrelation. See political cinema
Omicron (Gregoretti), 35–36
operaio sociale (Negri), 32–33, 51
operaismo (Workerism), 2, 36, 75, 79, 83
Organizer, The (Monicelli), 35
Ossessione (Visconti), 86–89, 99–101, 124
Pasolini, Pier Paolo, 3–12, 145, 147, 165–82, 200–201, 216, 226, 231, 241, 245, 274n34, 278n23, 279n4, 280n15
Paul, Saint, 171–75, 179, 181, 280n15, 282n35
Pellizzari, Lorenzo, 4–5
Petri, Elio, 1–13, 28, 36, 39, 47, 49, 53, 69, 70, 94, 202–12, 226, 237, 263–64n5, 264n7
Pigsty (Pasolini), 12, 167, 168, 176–83, 281–82n33
political cinema: end of, 253; as fetish, 17–18; and the figure, 2, 24–28; and genre, 3; impurity of, 3–7; as nonrelation, 1–2, 15–19, 24; and periodization, 253–58; and the politics of the long ’68, 32–33
Property Is No Longer a Theft (Petri), 185–86, 206–12, 213, 215, 220
real abstraction, 112–16, 118, 122, 125, 185–86, 206–12, 215–16, 275n39
Red Desert (Antonioni), 85, 109–18, 121, 122, 207
ressentiment, 60–64, 69, 78–80, 161
Ricotta, La (Pasolini), 168
Rome Open City (Rossellini), 128
Rosi, Francesco, 1–12, 187–88, 191, 193, 194, 199, 201, 205, 264n7
Rowbotham, Sheila, 82
Salò, or the 120 Days of Sodom (Pasolini), 13, 167, 223–35, 241, 242, 249, 251, 285–86n1
Samperi, Salvatore, 7, 132, 140, 142, 144, 149, 160, 180
Sciascia, Leonardo, 193, 194, 224
Scola, Ettore, 2–11, 66–68, 69, 71–72, 75, 98, 99, 100, 101, 104, 107, 109–10
Seduction of Mimì, The (Wertmüller), 3–4, 10, 37, 54–66, 69, 72, 78–80
Seven Sisters (oil companies), 186–87, 188, 190, 191, 192, 202
Shoeshine (De Sica), 128
Silverman, Kaja, 29
sovereignty. See state of exception
Special Day, A (Scola), 85, 97–109, 117, 119, 126, 251
stakhanovism, 36, 38; as perversion, 39–41, 43, 44, 56, 75
state of exception, 13, 193, 225, 227–28, 230, 236, 238; in Italy, 286n13
strategy of tension, 63, 193–94, 200, 202, 213, 283n16
Straub, Jean-Marie, 36
Teorema (Pasolini), 12, 165, 167, 168–76, 177, 180, 182, 235
Thompson, William, 82
Todo Modo (Petri), 13, 14, 223–29, 235–41, 242, 249, 251, 285–86n1
To Love the Damned (Giordana), 13, 186, 213–20
Torlasco, Domietta, 124
Tout va bien (Groupe Dziga Vertov), 255
Toxic Love (Caligari), 153–59, 278n23
Trevico-Turin: Voyage in the Fiat-Nam (Scola), 10, 28, 37, 54, 66–81, 118, 271n29
Trilogy of Life (Pasolini), 166
Vancini, Florestano, 1
Viano, Maurizio, 170
Virno, Paolo, 2, 33, 71, 212, 214
Visconti, Luchino, 86, 88, 100, 102
Volonté, Gian Maria, 39, 48, 189, 202, 204, 224, 237
Wages for Housework, 11, 82–84, 95–96, 100–101, 110, 117
We All Loved Each Other So Much (Scola), 72
Weeks, Kathi, 95
Wertmüller, Lina, 2, 3, 37, 55–60, 69, 70, 75
We Want the Colonels (Monicelli), 283–84n18
Wheeler, Anna, 82
Working Class Goes to Heaven, The (Petri), 7, 10–11, 28, 36–54, 55, 56, 58, 68, 75, 79, 84, 85, 93, 96, 97, 119, 122, 204, 251
Zetkin, Clara, 82
Žižek, Slavoj, 196
Zupančič, Alenka, 42