Dreamscapes in Italian Cinema

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1. Contents No access
2. Acknowledgments No access
3. Introduction No access
Chapter One: Dreamed Cinema, Cinematic Dreams No access Pages 1 - 18
Chapter Two: The Uncanny and Mannequins No access Pages 19 - 34
Chapter Three: Massimo Fagioli’s Influence and Psychoanalysis in Marco Bellocchio’s Il diavolo in corpo No access Pages 35 - 46
Chapter Four: The Visionary Realism of Marco Bellocchio’s Buongiorno, notte No access Pages 47 - 58
Chapter Five: The Ironic Oneiric No access Pages 59 - 74
Chapter Six: Life is but a Dream No access Pages 75 - 88
Chapter Seven: Sublimation, Myth, and the Work of Dreams No access Pages 89 - 108
Chapter Eight: The Cinedream in Pasolini and Cassavetes No access Pages 109 - 122
Chapter Nine: Gradivae and Nymphs No access Pages 123 - 146
Chapter Ten: Dreams, Nightmares, and Hallucinations in Francesca Comencini’s Cinema No access Pages 147 - 158
Chapter Eleven: The Nightmarish in Dario Argento’s Mother Trilogy No access Pages 159 - 172
Index No access Pages 173 - 178
About the Contributors No access Pages 179 - 181