Abstract

Looking back at the postwar films of Raffaello Matarazzo (specifically, Chains, Tormento, Nobody's Children, and The White Angel), this essay comparatively resituates Italian melodrama in terms of nationally marked conceptions of the popular that help produce an alternative critical perspective onto the period to that offered by neorealism.

Full Text
Paper version not known

Talk to us

Join us for a 30 min session where you can share your feedback and ask us any queries you have

Schedule a call