Abstract
This article aims to examine some of the peculiarities of Anna Magnani as an icon and to situate it in a trans-national dimension, mainly focusing on its reception in France and Argentina. In particular, I will highlight the traits connecting the figure of Magnani with those of Édith Piaf and Tita Merello, who in the post-war period display traits similar to those of the Italian actress. Through the comparative analysis of film frames, songs, articles and photographs taken from the press, I will identify some features common to these three icons who dominated the star system immediately after the war. I will show how these figures invented a new form of female diva and an anti-spectacular stardom which moved within an autonomous and eccentric environment when compared to contemporary film production.
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