Depictions Of Traditional Women In Fascism Analysis

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Depictions of Traditional Women in Fascism
Unlike many fascism films barely illustrate about the female (Rentschler 15), both the Italian historical film 1860 directed by Alessandro and the German melodramatic feature film La Habanera directed by Detlev Sierck are united by their portraits of traditional women like Carmeniddu’s wife, Gesuzza in 1860, and Astrée in La Habanera. These two films depict the women’s images in two forms. First, both 1860 and La Habanera directly portray the women as the family keepers. Second, both the Italian film and the German film use the set designs to reflect the females’ feelings.
In both the film 1860 and La Habanera, they depict the female subjects as the guardians of their families. In many respects, the
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She sings to her son the song "Kinderlied", a light-hearted combination of a spelling song and a bedtime duet with nursery rhyme. Astrée’s song to her son about the Swedish snow as a lullaby is an extension of the maternal prerogative. The mother describes the beauties of the winter in Sweden through the lyrics to her young son, Juan, who has never seen snow in sultry Puerto Rico. Her tendency to disclose the beauty of Swedish snow and her desire to give her son a fantastic dream hint her tender and gentle love to her little son, Juan, which indicates that she occupies a maternal role in the La Habanera as Juan’s …show more content…
The two films depict the female characters with direct portraits through plots about Carmeniddu’s wife, Gesuzza in 1860 and Astrée, in La Habanera, who are the maternal guardians of her families and indirect portraits through the set design of deserted plain in 1860 and Astrée’s room with dim light in La Habanera, which reflect the inner feelings of the female characters. These exclusive characterizations of womanhood serve mainly to exercise a symbolic function within the narrative, rather than to configure the women as primary agents, indicating the bias which implies disdain for women (Eco 7). In keeping with these female images, the fascist dictatorships laud the traditional, static position of women as keepers of their families and homes. This became part of the contradictory nature of fascist societies, and as they sought to emphasize technological expansion while extolling an archaic ethos of family. The role of women became a marker of the fascist nation’s tenuous relationship with the conflicting values of modernity and nationalist

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