Essay on Women 's Domestic Lives Under The Fascist Regimes

1366 Words Dec 13th, 2015 null Page
By interrogating women’s’ domestic lives under the Fascist regimes, Hitler Youth Quex by Hans Steinhoff and Rome, Open City by Roberto Rossellini are both inflected with feminist ideology. But these two films rely upon two different contemporary visions of womanhood that form part of German and Italian Fascism’s propaganda. These prevailing images divide women into two possible camps: one is cosmopolitan, urbane, skinny, hysterical, decadent, and sterile, which Gerda in the Hitler Youth Quex represents; while the other is national, rural, floridly robust, tranquil, and prolific, Pina in the Rome, Open City represents. The former symbolic of modernity, was an obvious threat to the regime’s efforts to enfold women in the economic and social strictures demanded by German Fascism. The latter, however, encapsulates the regime’s efforts to boost population growth and to remove the women from competition with the men in the labor force. In Hitler Youth Quex, the film links Gerda from the opposition force of the Hitler youth, the communist with dizzying and female sexuality, which the film actually opposes to. As a result, what the fascism promote is the opposite of the image of Gerda: resolute and forward movement. In the film, the camera focuses on Gerda’s legs as she walks: there are a few seconds that the whole screen shows the movement of her legs at walking. The camera uses a close-up on Gerda’s foot when she stops a Nazi leaflet: the camera catches and emphasizes…

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