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At this point in the timeline of the flashbacks, the positioning of aggressor and victim becomes less definite. The image of the Nazi as hardened, ultra masculine dominator, by implication, suggests a view of his captive, as submissive and feminine—submissiveness being traditionally perceived as a feminine trait. Cavani sees acceptance of non-heteronormative sexuality as positive, as the characters find equality in their relationship, but face social marginalisation as a result of both their collaboration and their unconventional sexuality. Indiana University Press,

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At this point, there is also a break from the anxiety-ridden brief edits employed in the earlier flashes. Canevari carries on this tradition of aligning fascist evil and homosexuality in Italian cinema. In Germany, the image of the Aryan ideal reinforced Nazi-Nationalist ideology through its cultural juxtaposition with negative stereotypes of other, opposing social groups. This German version of fascism, more focused on Nationalist ideology than its Italian precursor, also utilised the beautified image of the Aryan to enhance negative perceptions of other social groups.

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His MA thesis is entitled. In Germany, although Hitler never attempted to portray a public image of athleticism the way Mussolini did, Nazi-sponsored art such as the male nude sculptures of Arno Breker were still intended to inspire the veneration of the Aryan body. Identities then switch, as, in response, Lucia submissively places her hand beneath his foot, before Max presses down on it, causing her hand to be similarly injured. We see other female camp inmates engaged in relaxed conversation with SS officers. In contrast with the sexually unconventional, unrepentant fascists, Lise remains heterosexual and virtuous, since her eventual complicity is an illusion. her hand is forced by the desperation of her situation and she is in fact still, surreptitiously, opposed to Von Starker.

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Description: Unlike Max in The Night Porter , the characters that openly deviate from heteronormative sexual practice are not exceptions in a group of apparently ideologically committed fascists. When we meet her in Vienna, she has slipped back into a calmer, more civilised persona. We see other female camp inmates engaged in relaxed conversation with SS officers. The reasons are not hard to find. The majority of the Nazi characters in the film keep any latent homosexuality thoroughly in check. Gale Cengage Academic OneFile. These early flashbacks evoke an atmosphere of Holocaust realism that supports the view of Max as Nazi dominator and Lucia as his victim. In both instances, in the absence of the Nazi character Max, she is a sidelined female character in a patriarchal world. In contrast with the sexually unconventional, unrepentant fascists, Lise remains heterosexual and virtuous, since her eventual complicity is an illusion. her hand is forced by the desperation of her situation and she is in fact still, surreptitiously, opposed to Von Starker. A turning point in the film is the first surreal flashback at the opera.
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