| dc.description.abstract | Italian neorealism and magic realism constitute two distinct yet complementary narrative traditions. Italian neorealism, came about as World War II ended, aiming at presenting the crude realities of daily existence, frequently targeting the experiences of marginalized communities—often within patriarchal frameworks. In contrast, magic realism, born in mid-20th century Latin American literature, foregrounded the coexistence of the real and the supernatural to expose class- and culture-based divisions. Building on these traditions, this study examines how Alice Rohrwacher’s La Chimera (2023) reinterprets Italian neorealism by integrating the narrative and aesthetic techniques of magic realism—particularly in its evolving representation of female agency. I argue that Rohrwacher adopts and transforms neorealism conventions—poverty, dislocation, and resilience—through a magic realist lens that enables new forms of subjectivity and gender critique. Through textual and comparative analysis, this research explores how Rohrwacher’s film engages in dialogue with canonical neorealist movies Bicycle Thieves (1948) and Rome, Open City (1945). On this note, I analyze how Rohrwacher, through her magic realist style, shifts the narrative and symbolic weight of La Chimera onto its female characters – Beniamina, Flora, and Italia. I investigate whether these characters embody forms of agency that diverge from those of Pina in Rome, Open City, and Maria in Bicycle Thieves. As such, the thesis argues that, by combining realism with the magical, Rohrwacher reframes the potential of Italian cinematic storytelling. Ultimately, this research positions La Chimera as a contemporary evolution of neorealism, one that maintains the movement’s social conscience while expanding its capacity to critique gender hierarchies and explore alternative visions of community. In doing so, it contributes to broader debates on how contemporary Italian cinema can mobilize national cinematic traditions to question patriarchal structures, reimagine gendered subjectivities, and expand the possibilities of visual storytelling. | |
