Masquerade
in Film modernism
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Masquerade in Bertolucci’s cinema is paradoxical, not only with regard to character, but with regard to setting, plot, drama, citation. Masquerade becomes evident, displays its artifice. A citation is always on the outside, referring to what is beyond itself, external to it. In so doing, what is referred to seems to swell, to be itself and, simultaneously, to be more than it is, a double and an other. The expansion crosses a line that had kept it within boundaries. The inside that has been expanded and invaded by whatever is cited and added to, incorporates what is outside of it, takes possession of the citation, and is also incorporated by it, as if in two places at once, within and without the film. Bertolucci is a master of such formations, reminiscent of Pasolini

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