The Other Side ( La Femme Fatale Publishing )

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  1. La Belle Dame sans Merci
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As Stephen Gundle has shown, the phenomenon of the diva developed partly as a strategy by the main film companies to differentiate their output in a competitive market Gundle They were beautiful women wearing wonderful clothes, characterized by their unwillingness to accept the limitations of the conventions and expectations of female behaviour of their time. Mira Liehm suggests that the Italian femme fatale differs strongly from her American or German counterparts, particularly in the pre-sound era. She characterizes her as la dolente , the suffering woman — making men suffer, suffering herself, and mainly dying in the last reel.

We will see traces of la dolente in the films under discussion in this chapter. Unable to display preview. Download preview PDF. Skip to main content. Advertisement Hide. This process is experimental and the keywords may be updated as the learning algorithm improves. This is a preview of subscription content, log in to check access.

Buci-Glucksmann, C. Google Scholar. Calabrese, O. Lambert, Princeton: Princeton University Press. Caldwell, L. Sieglohr ed.


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La Belle Dame sans Merci

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    Bardot: the Making of A Femme Fatale | VQR Online

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