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Hollywood Glamour in Postwar Italy
27. For a theoretical treatment of the male gaze, see Laura Mulvey, “Visual Pleasure and
Narrative Cinema,” in Mulvey, Visual and Other Pleasures.
28. Piera De Tassis, “Corpi recuperati per il proprio sguardo,” Memoria 3, 6 (1982),
pp. 24–31, here p. 27.
29. Silvio Guarnieri, “Campioni e Dive” (1956), in Aristarco, Il mito dell’attore, p. 49.
30. Oreste Del Buono, “Marilyn Monroe” (1953), in Aristarco, Il mito dell’attore, p. 66.
31. Nadir Giannitrapani, “‘Il glamor’ nella società americana,” Cinema (November 15,
1950), pp. 170–74, here p. 174.
32. Ruggero Gilardi, “A Parigi i sarti italiani hanno conosciuto i poliziotti di Dior,” Oggi
(October 3, 1948), p. 7.
33. Errante, “Le ragazze svengono,” Oggi (February 3, 1949), p. 11.
34. See Guido Vergani, “La Sala Bianca: nascita della moda italiana,” in Giannino
Malossi (ed.), La Sala Bianca: nascita della moda italiana (Milan: Electa, 1992).
35. Sean Blazer, Mercanti di moda (Bergamo: Lubrina, 1997), pp. 32–3.
36. See Nicola White, Reconstructing Italian Fashion: American and the Development
of the Italian Fashion Industry (Oxford: Berg, 2000).
37. Valerie Steele, “Italian Fashion and America,” in Germano Celant (ed.), The Italian
Metmorphosis 1943–1968 (New York: Guggenheim Museum Publications, 1994), pp. 498–
9.
38. Carter, How German is She?, pp. 209–25.
39. David Seidner, “Still Dance,” in Seidner (ed.), Lisa Fonssagrives: Three Decades
of Classic Fashion Photography (London: Thames and Hudson, 1997), p. 20.
40. See De Tassis, “Corpi recuperati,” pp. 29–31. Mangano hated her youthful sexy
image and transformed herself into a thin, angular woman of poise and grace.
41. Michele Quiriglio, “Schubert veste le dive,” Cinema 9, 168 (June 16, 1956), pp.
286–8, here p. 288. See also Bonizza Giordani Aragno (ed.) Moda romana dal 1945 al 1965
(Rome: De Luca, 1998).
42. See Andrea Nemiz (ed.), Vita, dolce vita (Rome: Network, 1983).
43. Cited in Sandro Giulianelli and Antonio Simbolotti (eds), Via Veneto: un mito e il
suo futuro (Rome: Quaderni di AU - Rivista dell’Arredo Urbano, 1985), page unnumbered.
44. University of Southern California – Film Archives, Advertising, Publicity and
Promotion Material for La Dolce Vita: An Astor Release.
45. See Cleveland Amory, Who Killed Society? (New York: Harper, 1960), p. 143 for a
discussion of what the author called “publi-ciety.” See also Neal Gabler, Walter Winchell:
Gossip, Power and the Culture of Celebrity (London: Picador, 1995), esp. p. 81.
46. Anna Gloria Forti and Antonella Amapane, “Glamour italiano,” Vogue (Italia)
(February 1995), pp. 398–402, here p. 398.
47. Luisa Leonini, “Non mi vesto mi travesto,” in Cesare Colombo (ed.), Tra sogno e
bisogno (Milan: Coop-Longanesi, 1986), p. 256.
48. On the impact of the film, see Stephen Gundle, “La Dolce Vita,” History Today
(January 2000), pp. 29–35.
49. Carlo Moretti, “Gina racconta: non credevo che lo scià fosse tanto giovanile e Farah
così alta,” Oggi (March 28, 1963), p. 26.
50. See Giannino Malossi (ed.), Volare: The Icon of Italy in Global Pop Culture (New
York: Monacelli, 1999).
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