Abstract
At the outset of her book, Kriss Ravetto catalogs the codes that have been employed to portray fascism in the past and speculates on the ways in which fascist iconography lingers in the fibers of contemporary culture. Postwar cinema, and its implementation of fascist symbolism, is used as evidence of broader cultural and ideological developments. Ravetto, as a professor of film history and gender studies at the California Institute of the Arts, offers film as a means of comprehending the evolution of attitudes towards fascism and of recognizing its subsequent associative permutations. She enlists three films as case material: Liliana Cavani's The Night Porter, Pier Paolo Pasolini's Saló, and Lina Wertmüller's Seven Beauties.
Sign-in/Register to access full text options 
Free) 
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
