Abstract

Sandra Milo’s a-synchronic career has been characterized by alternating success and the actress’s innate ability to traverse sometimes fortuitously, sometimes consciously, the entire media sphere. Glory in the season of auteur cinema, private crises, the return to television, political militancy, great loves, and renewed popularity on satellite platforms have been reconstructed by Milo herself through an articulate editorial work with which she has tried to tell her story, redeem herself, and look at herself. The forms of the novel, poetry and autobiography have been extraordinary opportunities for her to construct her public image, inevitably ending up enriching the already extensive picture realized in the spaces institutionally devoted to the narration of the lives of stars such as the periodical press, specialized magazines, critical apparatuses and paratextual ones. The reading of such books induces us to reflect on the ways through which the actress wanted to talk about her art and her life. With this article we try to investigate them, in the awareness that only through a comparative and integrated analysis can these effectively contribute to the understanding of one of the most complex actress figures in the history of Italian cinema