Godmothersnarrative portraits from the past of two distinct camorra women

  1. Silvia Pezzoli 1
  2. Beatriz Peña Acuña 2
  1. 1 University of Florence
    info

    University of Florence

    Florencia, Italia

    ROR https://ror.org/04jr1s763

  2. 2 Universidad de Huelva
    info

    Universidad de Huelva

    Huelva, España

    ROR https://ror.org/03a1kt624

Revista:
Perspectivas de la comunicación

ISSN: 0718-4867

Ano de publicación: 2021

Volume: 14

Número: 2

Páxinas: 31-56

Tipo: Artigo

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Outras publicacións en: Perspectivas de la comunicación

Resumo

In recent years, we have seen a significant increase in television series productions featuring female leads, including bloodthirsty women who commit cruel crimes and order massacres. Given that traditional gender expectations see femininity associated to stereotypes such ascare and caring for others, with emotion, passivity and vulnerability and, instead, violence and aggression as something intrinsic to the conceptualization of masculinity, the theoretical starting premise is that the narratives that portray violent women commit themselves to a problematic relationship with one of the pillars of male domination, that of violence. The aim of this study is to analyze two real women from the Camorra, Pupetta and Rosetta, represented in two films: The Challenge (La sfida) by Francesco Rosi (1958) and The Professor (Il camorrista) by Giuseppe Tornatore (1986) to investigate the nascent state of this troubled relationship.

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Fonte de datos: Dialnet