La formazione delle italiane al cinema

Abstract

Essere donne (Cecilia Mangini, 1965) and Vogliamo anche le rose (Alina Marazzi, 2007) offer two personal views on Italian feminist movements between 1960 and 1979. The first documentary gives voice to the marginalized women within a system marked by a
production machine that cancels the boundaries between work time and leisure and aims at granting the interests of the owners by nourishing a reassuring female model. The second retraces, through three stories, the achievements of collective struggle, that have given back to women the role of historical agents, transforming the image of themselves and of their bodies. A comparative analysis of the two films points out the way in which, using the narrative, female models in the Italian society can be critically rethought in order to interpret the current situation where new forms of inequality are affecting women.