Abstract
Ferzan Özpetek’s middlebrow cinema has broken boundaries in its depiction of (at times idealized) homosexual lifestyles in contemporary Italy. What is intriguing is how the director utilizes popular Italian male stars as a means of tempering these representations for mass audiences, which speaks to both the director’s widespread success as well as current discourses on male stardom in Italy today. This article analyses the director’s use of male stars throughout his work, and focuses on the manipulation of looking relations and the spectatorial gaze that results in an ambiguous sexual positioning of the divo.
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