Catherine Deneuve's Italian career is relatively brief: she made three films in the early 1970s, and ten years later participated in one further production. This chapter identifies and analyses the star qualities of Catherine Deneuve as they are manifested in these films. Career profiles of Bolognini and Monicelli show that her work with them can be located exclusively within the traditions of Italian national cinema. The chapter shows that Deneuve's most significant Italian films are those she made with Marco Ferreri, in particular La cagna Ferreri, is a filmmaker much more difficult to classify as belonging within a single national cinema. Through close scrutiny of the individual film, it argues that the discourse of the film offers a complex nuancing of Deneuve's star image. At the same time, the chapter demonstrates that nevertheless, questions of continuity and difference of image inevitably inform any critical analysis of her Italian career.
This introduction presents an overview of the key concepts discussed in the subsequent chapters of this book. The book considers memory as a specific framework for the study of popular film, intervening in growing debates about the status and function of memory in cultural life and discourse. It examines the relationship between official and popular history and the constitution of memory narratives in and around the production and consumption of American cinema. The book explores the political stakes of cinematic discourse in its production of national memory. It also examines the discursive and institutional apparatus that has come to support the memory of Classic Hollywood in British cultural life. The book also considers both the presence of music and colour in nostalgia films of the 1990s and the impact of digital and video technologies on the representational determinants of mediated memory.