Fantasising the Self, Fantasising the Other: Memory and Re-Visions in Mario Martone's L'amore Molesto (Report‪)‬

" Sei un fantasma dissi aha donna nello specchio." (Ferrante, L'amore molesto) "Sin dall'inizio infatti, nel film noi dobbiamo vedere Delia." (Martone 80) Hav ing worked in close collaboration with Fabrizia Ramondino on Morte di un matematico napoletano in 1992, and on Terremoto con madre e figlia in 1993, filmmaker and theatre director Mario Martone decides to work on another female issue in 1995, by re-narrating in cinematic discourse Elena Ferrante's L'amore molesto. Martone's choice to adapt L'amore molesto for the big screen does not simply involve reworking symbolic language into symbolic cinema. It may also involve deconstructing and reconstructing ideologies, 're-dressing'1 the novel's female author's and first person female narrator's points of view into a male director's different ideology and sensitivity.