Italian Neorealist and New Migrant films as dispositifs of alterity: How borgatari and popolane challenge the stereotypes of nationhood and womanhood?

Figures & data

Figure 1. Scene from Vittorio De Sica’s Il tetto (1956).

Figure 2. Scene from Vittorio De Sica’s Il tetto (1956).

Figure 3. Scene from Roberto Rossellini’s Roma città aperta (1945) showing Anna Magnani as Pina.

Figure 4. Pier Paolo Pasolini during the shooting of Accattone (1961).

Figure 5. Antonia in Ferzan Özpetek’s La fate ignoranti (2001).

Figure 6. Antonia in Ferzan Özpetek’s La fate ignoranti (2001).

Figure 7. Katherine in Roberto Rossellini’s Viaggion in Italia (1953).