Women During Fascism The Temptress Vs The Model

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Women in Fascism—the Temptress vs the Model Both Hitler Youth Quex by Hans Steinhoff and Rome, Open City by Roberto Rossellini interrogate the domestic lives of women under the Fascist regimes. These two films rely upon two different visions of womanhood that form part of German and Italian Fascism 's propaganda. These prevailing images divide women into two possible camps: one is cosmopolitan, decadent, and sterile, which Gerda in the Hitler Youth Quex represents; while the other is national, floridly and robust, Pina in the Rome, Open City represents. The former symbolic of modernity, was an obvious threat to the regime 's efforts to enfold women in the economic and social structures demanded by German Fascism. The latter, however, encapsulates the regime 's efforts to boost population growth and to remove the women from competition with the men in the labor force. To depict these two female camps, both films oscillate between subjective and objective forms of camera work and uses characters ' dressing to reveal different female images. In Hitler Youth Quex, Steinhoff focuses on Gerda 's legs and feet, while, Rossellini catches the body and facial expressions of Pina. Also, both film use the amorous dressing of Gerda in Hitler Youth Quex and the old-fashioned dressing of Pina in Rome, Open City as corollaries of Gerda 's frivolity and Pina 's conservativeness. With the traditional women propaganda, the fascism reserves and broadcast worldwide its core value of women

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