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Ecofeminism: feminist intersections with other animals and the earth

legacy of 1968: Nanni Moretti’s Ecce Bombo’ offers a valuable reading of Italian political movements, specifically post-1968 and in 1977, in relation to the tension between politics, gender and fatherhood. Throughout the volume, Rigoletto successfully combines close textual analysis with critical reflection that draws on gender and literary theory as well as relevant film studies. The author selects and employs secondary readings with much success; however, his selected filmography remains problematic as the volume focuses almost exclusively on high-brow auteurs. Though this choice is somewhat justified by the implicit level of critical discourse within these films, a tension remains between highbrow and mass cinema throughout the book: on the one hand, its foundational discussion of the emergence of sex in 1970s cinema makes direct recourse to mass film (e.g. the extremely popular erotic comedies of the period); yet, on the other, the book insists on studying the reactions of directors such as Ferreri, Bertolucci, Pasolini and Wertmüller to this trend rather than considering extremely significant ‘popular men’, such as Lino Banfi or Paolo Villaggio. In the light of the centrality of debates on popular film in Italian screen studies currently, this omission somewhat haunts the volume. Nevertheless, each of the chapters presents a convincing example of the extensive critical reflection on masculinity in 1970s cinema, and together they combat its entrenched ‘invisibility’. Ultimately by means of its insistence on criticism and on problematizing accepted views of masculinity the volume constitutes a valuable contribution to the growing field of gender studies within Italian culture, and will be of great use to scholars and students alike.