Abstract
Ferzan Ozpetek has been criticized for producing work that is old-fashioned and middlebrow and whose apparent hybridity results from international casting rather than any sustained attempt to investigate new forms of subjectivity. The aim of this article is to look at Ozpetek's Le fate ignoranti (2001) as a film that explores multiple levels of difference and cohabitation between formations of sexuality and national or ethnic identity. The article suggests that there are ways of looking at Le fate ignoranti and of understanding the reception of Ozpetek's work in Italy that show him to be revising familiar cinematic forms and identity formations rather than reiterating them.
Translated title of the contribution | Stairway to Heaven: Ferzan Ozpetek and the revision of Italy |
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Original language | English |
Pages (from-to) | 101 - 113 |
Number of pages | 13 |
Journal | New Cinemas |
Volume | 3 (2) |
DOIs | |
Publication status | Published - Sept 2005 |