Pizza On Credit Analysis

“Pizza on Credit”: An Analysis
Italy has always been perceived as a land of beauty. From its ancient architecture, to the abundance of timeless artwork, to the picturesque landscapes that appear to be almost unreal; the beauty of this country has been associated as a part of the life and culture for centuries. Even though this characteristic appeared to be common knowledge to all those who traveled to the foreign land, Italy itself did not always associate their country with this feature. Since the 17th century when young members of aristocratic background came to Italy to explore the ancestry of the European culture, Italy has been stereotyped as a country that produces beautiful things, even women. Italy was also at the very heart of the
The domicile and submissive qualities were obviously no longer an aspect of Italian actresses. The manner in which she dressed, spoke, and even walked expressed a perception of utter control. Her hair was a mess, her blouse falling off her shoulder, and her apron stained with dough and sauce did not prevent Sophia from being seen as a completely put together woman. Every movement she made and word she spoke seemed to be premeditated for her benefit. While her position was still based solely on pleasing the men of the community, she proved that women could still be in control of her situation. This was a landmark in the new ideal spreading across the nation. Women were still turned to as representations of national identity, yet they now this fact was known and used to their full advantage. While the plot of the episode was insignificant, the main purpose of the dilemma was due to the fact that Loren had had sexual relations with another man. This concept alone was one completely foreign to a society that had centered itself on morality, especially of its women. Through this role, Sophia Loren introduced a new breed of femininity; an independent, self-sufficient woman of power who depended on the appeal of men, but used it to her full advantage. As Gundle relays, “These actresses renewed the identification of Italy with female beauty at a time when the country needed a new cordial image and new symbols to show the world,” (Gundle 169). The reconstruction instilled a large amount of trust in the women of the peninsula, since they remained to exemplify the identity of the country, yet the image needed to be completely reformed. In “Pizza on Credit,” Loren clearly shows the ideals of the new modern woman, and strays from the preceding