Daria Pezzoli-Olgiati
Theories of Religion Easily Introduced with 
Bruno Bozzetto’s A LIFE IN A TIN (IT 1967)
Abstract
This article discusses the animated short film A Life in a Tin (Una vita in scatola, 
Bruno Bozzetto, IT 1967, 6′) used in an introductory course in the study of religions to 
facilitate access to theories of religion. The short film addresses the transformation 
of religion in plural and complex societies, exploring both the role of religious insti-
tutions and other dimensions of life providing existential orientation at the boundary 
between immanent and transcendent worlds.
Keywords
Bruno Bozzetto, Animated Short Films, Theories of Religion, Societal Transformation, 
Role of Religious Institutions, Orientation
Biography
Daria Pezzoli-Olgiati is Professor of the Study of Religion and the History of Religion 
at the Ludwig-Maximilians-Universität Munich, Germany. The interaction between 
religion and media as well as the role of religion in the public sphere are her principal 
research interests. She also works on space-critical and gender-critical approaches to 
religion and on methods and theories in the study of religion, with a focus on Euro-
pean traditions.
Introducing new generations of scholars to the theories and methods of the 
study of religion is a fascinating teaching activity. Still, it can be a challenging 
task. Students are expected to engage with approaches to religion written in 
cultural contexts they are not familiar with. They are invited to read classics 
published in specific academic languages and to extract the main theses from 
texts often available only in convoluted translations. We discuss complex as-
pects of the comparative study of religion by reading only small fragments of 
a volume. Usually, the time is too short to explore in detail the biographical, 
sociological, historical, and political contexts in which the different positions 
are embedded and to reconstruct the main arguments of the text. And yet 
it is essential to read and analyse influential, diverse, and controversial theo-
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DOI: 10.25364/05.8:2022.2.2
ries of religion from different times and traditions in order to stimulate new 
thinking. Every generation has to appropriate the different positions and 
streams within our field, which is truly interdisciplinary and broad. Knowl-
edge of the history of the discipline and its classics is necessary for further 
developing multiple approaches to such a complex phenomenon like religion.1
I regularly teach classes that introduce the main theories of the study of 
religion, often for undergraduate students. The courses are designed not 
only for students in the study of religion but also for students in fields that 
are related in varying degrees to that discipline, such as theology, sociology, 
anthropology, history, and philosophy, and in fields concerned with par-
ticular languages, literatures, or cultural areas. Many of the classics of the 
comparative study of religion that we read as part of an introductory course 
in the study of religion may be encountered by the students again, either in 
other programmes within the study of religion or as part of curricula in hu-
manities and social sciences. Therefore, stressing the complexity of religion 
and the theories about this multi-layered phenomenon is intended to enable 
the students to recognise religion as a pivotal aspect of culture, whatever 
their academic discipline.
In such a multi-disciplinary teaching context, I often use short films to ad-
dress specific questions. This form of audio-visual production seems particu-
larly appropriate since it presents a complete work characterised by all the 
aspects of film art production in – as the name reveals – just a few minutes. 
This article does not focus on a single course or a precise teaching strategy to 
be reproduced in an identical way over the years. Rather, it explores how we 
might bring together a work of art and crucial theoretical approaches to reli-
gion in a flexible and, hopefully, stimulating intellectual environment. In my 
opinion, academic teaching should always adapt to the specific conditions 
of a class and the time it is performed. In my own case, I teach in different 
languages and countries, which requires adjusting the course contents to 
the disciplinary traditions of the study of religion in these various contexts.
A Life in a Tin (Una vita in scatola, IT 1967, 6′) by Bruno Bozzetto, the 
animated film which I explore in this contribution, proves to be particularly 
appropriate for introducing the context in which a number of influential 
theories of religion were conceived. To name just a few examples: Peter L. 
Berger and Thomas Luckmann published The Social Construction of Reality in 
1966, the same year Clifford Geertz wrote Religion as a Cultural System and 
1 Pezzoli-Olgiati 2021.
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Mary Douglas Purity and Danger. A year later The Sacred Canopy. Elements of a 
Sociological Theory of Religion by Peter L. Berger and The Invisible Religion. The 
Problem of Religion in Modern Society by Thomas Luckmann were published. 
These works still influence the way we address religion in academia today. 
My students, who for the most part are post-millennials, subjectively expe-
rience the 1960s as part of a distant past. The short film A Life in a Tin is 
very helpful in giving them in just a few minutes an idea of the society of the 
economic boom in the 1960s and its lifestyle. The film provides a glimpse of 
the period in which those theories of religion are embedded.
This animated film vividly depicts European urban life in the late 1960s, 
using a plain but effective narrative and style. In this article, I will analyse 
Bruno Bozzetto’s short film in four steps according to a procedure that may 
be used in classes. First, we consider the plot, style, and general context in 
which the film was produced. Second, we will focus on the protagonist and 
analyse his biography as represented in the film. Third, the depicted urban 
societal space will be explored. And finally, the different facets of religion 
represented in the animation are highlighted. These four analytical steps 
can be translated into questions the students are asked to discuss in groups 
or as individual preliminary work in preparation for the class after they have 
seen the film:
Did you like the film? What topic does it address? What story does it tell? 
Which society does it depict? 
Focus on the protagonist. Who is he? What do we learn about his life? 
What is he doing? When and where?
What characterises the city depicted in the short film? Which aspects of 
society are represented? How?
How is religion represented in the film? How would you describe the dif-
ferent facets of religion in Bozzetto’s short film?
Urban Life and the Idea of Progress in the 1960s
Bruno Bozzetto, born in 1938 in Bergamo, is an influential designer, anima-
tor, and film director. His diverse œuvre still has a significant impact on 
the production of animated films, cartoons, and advertising in Italy.2 Short 
2 A brief presentation of Bozzetto’s work can be found in Bendazzi/De Berti 2003; see also 
https://www.bozzetto.com/ [accessed 8 April 2021].
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Fig. 1: Life in the era of progress and growth 
is like being shut in a tin (00:00:23). This and 
all following figures are film stills taken from 
A Live in a Tin (Bruno Bozzetto, IT 1967).
films have always been his favourite mode of expression. His productions 
are characterised by simplicity and reduction to a few essential elements; 
moreover, he intertwines humour and irony with social criticism and a 
poetic approach to existential topics.3
A Life in a Tin, released in 1967, deals with the life of a middle-class 
man in an urban context marked by technological progress and econom-
ic growth.4 The short film combines two perspectives on the life of the 
protagonist. First, it opens with a critical external view on the topic: the 
urban life of the middle-class man takes place within a small tin, typical 
of the food industry in the 1960s; the protagonist is imprisoned in this 
tin by an external force sporting elegant footwear (fig. 1). Who is wear-
ing this shoe? Might this force belong to the “invisible hand” leading the 
market?
Second, the protagonist, who is unaware that he is being kept in a tin, 
lives an average life, pursuing his duties, relationships, and desires. The 
life of the middle-class man in this animated film follows the exhausting 
rhythm of a script with mandatory steps of which he is not really con-
scious. There are just a few moments of freedom, of a liberating happi-
ness that anticipates an afterlife – or what a man in a tin can imagine 
as paradise. In the depiction of his ordinary world, grey-blue shades and 
black dominate, while dreams, emotions, and imagination are repre-
sented as a lavish fantasy landscape in colour. The soundtrack combines 
music (by Franco Godi) with sound effects and very few words, mostly 
3 On the style of Bruno Bozzetto’s animations see Boscarino 2002.
4 For an overview of the Italian context in the 1960s and the role of animated cartoons see 
Colombo/Stefanelli 2003.
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in gibberish. The soundtrack is crucial, for it underlines the feelings of 
freedom, the oppressive rhythm, and the exhaustion. From the very 
beginning, the style of the pop music clearly locates the cartoon in the 
late 1960s.5
The Life (and Death) of the Middle-class Man
The life of the ordinary man begins with his mother’s pregnancy and his 
birth in a hospital (fig. 2). The toddler spends a few serene years at home 
with his mother, who is a housewife, before he starts school. In the society 
of progress, the middle-class young man attends university. The academic 
education leads him to a qualified job in industry, and in his leisure time he 
goes dancing, to the theatre, and to the drive-in-cinema. The protagonist 
meets the woman he wants to spend his life with. He marries her and soon 
their child is born. The protagonist makes a living for his traditional family. 
His life is punctuated by the ringing of the alarm clock in the morning and 
the factory sirens in the evening. He runs from home to factory and back 
again at an increasingly frenetic pace. Time flows quickly, and then life is 
over (figs. 3–6).
The short film describes in detail middle-class life in an (Italian) city in the 
1960s: typical activities for the era of the so-called Italian “economic miracle” 
include attending higher education, buying a car, going to the theatre as a 
status symbol, dancing and listening to pop music, and going to the cinema.
Yet the family structure remains traditional, with husbands working 
hard and wives attending to housework and caring for children. The main 
biographical events are linked to religion: baptism, wedding, and funeral 
remain unquestioned rituals. Gender roles are organised according to dom-
inant conventions, and the possibility of personal choice is regulated by 
apparently mandatory participation in progress and success. There is little 
opportunity for imagination, dreams, and emotions. Joyful moments may 
happen suddenly in discovering nature, being in love, becoming a father. 
But moments of happiness are rare and brief in the small tin, in the grey 
environment of concrete blocks where the protagonist’s life takes place. The 
protagonist, an average man, depicted in an innocent and, at the same time, 
5 A Life in a Tin is one of the director’s favourite works, as he often explains. See, for exam-
ple, the interview in Perucca 2008, 183.
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Figs. 2–8 (from lef t to right): Milestones in the 
ordinary biography of the protagonist. Fig. 2: 
Birth in a hospital (00:01:12). Fig. 3: Playing as 
a toddler with his mother in the flat (00:01:34). 
Fig. 4: Going to school (00:01:48). Fig. 5: Dating 
his future wife (00:03:22). Fig. 6: Marrying 
and having a child (00:05:03). Fig.7: Working 
in the factory (00:04:42). Fig 8: The end of the 
protagonist’s life (00:05:37).
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critical manner, represents the “normality” of an era in which influential 
theories about the relationship and entanglement of society and religion 
were written.
Religion in a Differentiated Society
The representation of urban life in the late 1960s in A Life in a Tin obviously 
does not provide a scholarly socio-historical analysis. However, the short 
animation can be read as a compendium of topics and feelings that are rep-
resentative of this era, characterised by both faith in progress and its criti-
cism. Alienation through work and the rise of social movements and youth 
riots, traditional family roles and feminism, “high culture” and the develop-
ment of pop music and cinema, conservative Catholicism and the impact of 
the Second Vatican Council are some of the contested issues that character-
ise Italian society between the post-war era and the “years of lead”, the era 
when Italian society was divided by terrorism. The city to which the anima-
tion refers is specific to Italy. Nevertheless, the reduction of the narrative 
to the essentials and the plain style attribute universal significance to this 
fi lmic analysis of urban culture in the 1960s. Both the depicted biography 
and the setting refer to a common conception of citizens and cities in the 
era of economic growth in Europe. Bruno Bozzetto’s “city in the tin” em-
bodies the idea of social progress that is linked to improvement in material 
well-being but also to the exploitation of labour and natural resources.
In just a few minutes, Bozzetto’s animated film depicts the principal social 
spheres where the average middle-class life unfolds: hospital, school, universi-
ty, disco, theatre, cinema, church, home, factory, public and private transpor-
tation are all fundamental urban places that constitute this paradigmatic city.
From an architectural point of view, they all are part of a modern, ef-
ficient, and functionally differentiated society and create a homogeneous 
urban setting in grey. Despite the fact that all the buildings look the same, 
each represents a particular societal sphere with specific features. By enter-
ing the different blocks, the protagonist assumes different roles, performs 
diverse actions, and assumes various functions, according to the demands 
and expectations of each social domain (figs. 9–18).
The imaginary society of the animated film is helpful for introducing the 
concept of social differentiation and the role of religion in modern society. 
It is interesting to observe the developments in mass media at this time: 
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Figs. 9–11 (from lef t to right): The short film 
presents the main social spheres of modern 
dif ferentiated society. Fig. 9: The hospital 
represents the healthcare system (00:01:00). 
Fig. 10: The house where the protagonist 
lives refers to the family and private space 
(00:01:17). Fig. 11: The church as a building 
materialises religion as an institution 
(00:01:22). 
Figs. 12–13: The school (00:02:47) and the university (00:03:06) belong to the education system.
cinema is established as a popular medium; housing blocks have antennas, 
evidence of the success of radio and particularly TV.
The church represents the religious system that provides the rituals in 
society, at least according to A Life in a Tin. The typical steps of an average 
biography go hand-i n-hand with attending church services. There is no hint 
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Figs. 14–16: The disco, theatre, and drive-in 
cinema are dif ferent facets of leisure. The 
first (00:03:12) was crucial in the Italian 
youth culture of the Sixties, which was 
very much influenced by songwriters 
rejecting formal high culture, represented 
here by the theatre (00:03:27). Drive-in 
cinema refers to global entertainment 
and its Italian response (the banging on 
the soundtrack may refer to a spaghetti 
western or mafia film).
Fig. 17: The factory forms the core of the Fig. 18: The hotel (00:04:09) serves as a 
economic sphere (00:04:26). reference to holidays and travel: tourism as 
a habit of the ordinary man is typical for this 
age of economic expansion.
of religious pluralism or the dismissal of traditional rituals. In the church 
block, rites of passage are performed according to tradition, marking impor-
tant transformations in life.
The protagonist’s birth and wedding are briefly sketched, while his funeral 
is depicted in detail, with an ironic note. The frenetic life of the middle- class 
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Fig. 19: Funeral service as a social duty 
(00:05:41).
man has come to an end: after hurrying increasingly ant-like from home to 
factory and back again, the protagonist falls down dead. Everyone attends the 
memorial service and mechanically recites the usual prayers. There is neither 
compassion nor personal content. The recitation of prayer is reduced to a me-
chanical sound performed in unison; the ritual, performed exactly as expected, 
seems to have lost its meaning. The film sounds a critical note regarding reli-
gious practice which has entirely adapted to this dystopic place of technologi-
cal and economic progress. The animated film suggests that attending church 
is a mere obligatory step prescribed by the social script of convention (fig. 19).
Meaning-making Processes and Individual Imagination
Even in such a standardised life, there are experiences of personal mean-
ing-making where the individual transcends his poor life trapped in a small 
box. The imagining of a different world is represented in full colour, in radi-
cal contrast to the grey of concrete buildings.
As a child on his way to school, the protagonist already has a personal ex-
perience of happiness that opens up an exciting horizon beyond his grey daily 
life (fig. 20). He discovers nature: a butterfly and then lavish trees. The first en-
counter with the beauty of nature brings a feeling of profound joy. This won-
derful experience ends suddenly, when the screaming mother orders her son 
to hurry up and get to school on time. The middle-class schoolboy growing 
up in a small flat has only occasional and perhaps imaginary opportunities to 
experience the beauty and freedom of nature. A second immersion in this fan-
tastic, dream-like dimension of existence happens when the ordinary young 
man falls in love: in the night, the crescent moon illuminates the landscape in 
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Fig. 20: On his way to school, the protagonist 
discovers an unexpected dimension of life 
that makes him very happy: nature (00:02:02).
different shades of an intense blue. But as an adult, there is no time or place for 
reveries and transcendent experiences: urban life and the chains of production 
are demanding and all-consuming. Only short breaks into the fantastic world 
of happiness out there are possible, for instance when his baby girl is born.
The animated short film addresses the topic of the relationship between 
human and nature, and with it, the absence of the natural world in a me-
tropolis of cement blocks. The exploitation of natural resources on the one 
hand and the idealisation of nature on the other are topics that may be 
discussed at this stage of the film analysis. A Life in a Tin points towards the 
experience of nature, happiness, and personal imagination even though the 
depicted lavish landscape is perhaps only the visualisation of an individual 
moment of fulfilment, a projection of intimate feelings.
And what about the link between the natural world and religion? Only 
after death does the beautiful coloured landscape reappear in full measure, 
with the tomb of the ordinary middle-class worker at its centre (fig. 21).
At this stage, the filmic perspective has changed. Are we still in the small 
tin? Or has the imagination of a colourful forest as a last resting place 
Fig. 21: Af terlife in colours (00:05:52).
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overcome the anguish of life in a tin and freed the city dweller from the 
oppression of production? The film is open to interpretation: at this point, 
the long shot no longer represents a detached, critical gaze upon the reality 
of the protagonist, but instead appears like a subjective camera, the last 
expression of the desires, expectations, and fulfilments of the ant-man. The 
landscape of trees and flowers could refer to an imagination of paradise, 
of an otherworldly place of well-being and happiness. Nature and paradise 
both transcend the experience of living in a city of concrete blocks.
The role of this natural landscape as a place of rest, happiness, and tran-
scendence recurs frequently in works by Bruno Bozzetto. In Mister Tao 
(IT 1988, 2′35″), which won an award at the Berlinale in 1990, nature is rep-
resented as a first step into a spiritual quest that never ends. A comparison 
between the two short films could be useful for developing this approach to 
religion and the analysis of the animated film.
From Playful Animation to Theoretical Horizons
A Life in a Tin opens up a space where different approaches to religion 
can be discussed. It is a polysemic work that establishes in a few minutes 
different, even contradictory, perspectives on religion in the post-war soci-
ety of economic growth, consumerism, and societal differentiation. In this 
concluding section, the main thematic lines highlighted in the analysis are 
recapitulated and associated with theories of religion that may be discussed 
in an introductory class.
First, the short depicts an urban setting built and organised according to 
an idea of progress and infinite development. It presupposes and criticises a 
society in which the relationship between industrial production and the sus-
tainability of the planet’s resources does not play any role. Thus, by setting 
the grey city against the colourful nature where the protagonist experiences 
a glimpse of happiness, the film anticipates the debate that would crystallise 
a few years later in the report The Limits to Growth, commissioned by the 
Club of Rome, an informal group founded by scholars and business leaders.6
Second, in the representation of urban society and the modern individual 
provided in Bozzetto’s short, religion appears at first in the form of a clearly 
6 Meadows/Meadows/Randers/Behrens, 1972. The book can be downloaded at https://is.gd/
K7wd4h [accessed 5 June 2022].
28 | Daria Pezzoli-Olgiati www.jrfm.eu 2022, 8/2, 17–32
recognisable institution. Given the cultural context in which the film was 
produced – in Italy in the 1960s – it makes sense to identify the references to 
Christianity with the Roman Catholic Church. Yet, in accord with the overall 
style of the film, the references are kept vague and may stand for different 
Christian denominations or even for religious institutions in general. Keep in 
mind that the film’s title is in Italian, English, French, and German and that the 
diegesis does not use an identifiable language, which means that the short 
has always been accessible to an international audience. In a differentiated 
society, religious institutions form one of many societal spheres. In this sense, 
religion has specific functions as, for instance, it provides rites of passages for 
individuals, marking important steps in biographies from the cradle to the 
grave. For this reason, some theorists argue that religion, on a collective level, 
provides societal cohesion. Furthermore, rituals and religious services are 
characterised by a specific language which comprises not only prayers and 
liturgical elements but also visual, auditory, and material forms of commu-
nication (like water or specific clothing, both addressed in the short). These 
different facets of religious communication are transmitted from generation 
to generation and interiorised through socialisation processes so that – from 
the perspective of the members of a congregation – they seem obvious and 
self-evident. On this level of the interaction between individual and religious 
institution, religion is not (only) a matter of belief in the sense of adhering to 
a precise worldview or specific teaching. Rather, it conveys practices, feelings, 
and emotions, ascribing a particular significance to crucial events in one’s life.
All those aspects of religion as an institution can be used to introduce 
classic theories of religion in a differentiated society as well as ritual theo-
ries: the range of possibilities is very broad. For discussing a sociological ap-
proach to religion in the European context, the course syllabus may include 
crucial passages from Emile Durkheim’s The Elementary Forms of the Religious 
Life. A Study in Religious Sociology,7 Peter L. Berger and Thomas Luckmann’s 
The Social Construction of Reality,8 and/or Peter L. Berger’s The Sacred Canopy. 
Elements of a Sociological Theory of Religion.9 The role and limits of rituals may 
be addressed by analysing Arnold van Gennep’s The Rites of Passage,10 Mary 
7 This work was originally published in French in 1912 as Les formes élémentaires de la vie 
religieuse. Le système totémique en Australie. For a translation into English see Durkheim 1915.
8 Berger/Luckmann 1966.
9 Berger 1967.
10 This work was originally published as Les rites de passage in France in 1909. For an English 
translation see van Gennep 1960.
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Douglas’s Purity and Danger and Natural Symbols. Exploration in Cosmology,11 
and Victor Turner’s The Ritual Process. Structure and Anti-Structure.12 The film 
creates an opportunity to discuss functional approaches to religion by a -
ddressing the social and individual effects of institutions in a differentiated 
society. Enumeration of the possible roles of religious institutions and the 
ways they interact with other social spheres (such as those of hospital, 
school, or cinema) could allow system theories to be addressed and linked 
to debates about secularisation and privatisation. A possible starting point 
for presenting the main lines of such theories could be reading a passage 
from a classical approach like Niklas Luhmann’s Funktion der Religion.13
Third, as the film analysis has shown, the short film not only depicts a grey 
urban society but also encourages a critical view of the society of the 1960s, 
emphasising its effects on individuals who are reduced to mere cogs in the 
wheels of industrial production. According to this perspective, the short 
film is critical of religious institutions. The religious rituals (particularly the 
funeral) are in some way mechanical and seem to be an expression of social 
expectation and duty rather than of compassion in the face of grief and 
human finitude. This recognition could stimulate a discussion in class about 
controversial values attributed to religion as well as influential positions 
within religious criticism: is religion a resource for societies or is it an instru-
ment of oppression and illusion ? How does religion provide orientation for 
an individual who does not participate in religious organisations? According 
to my teaching experience, this aspect could be developed with Thomas 
Luckmann’s The Invisible Religion. The Problem of Religion in Modern Society.14
Fourth, a playful but critical exploration of Bozzetto’s short film builds a 
bridge to thinking about religion as a meaning-making process that is not always 
mediated by a religious organisation. In line with the protagonist’s experience 
of happiness in the colourful landscape, accompanied by playful music, the ap-
proach to religion may be extended further by addressing the agency of individ-
uals in shaping worldviews that are not regulated by institutions. At this point, 
religion could be related to individual experience and considered a complex 
symbol system articulating the tension between Lebenswelt and transcendent 
world(s). Here another link to The Invisible Religion by Thomas Luckmann could be 
11 Douglas 1966 and 1970.
12 Turner 1969.
13 Luhmann 1977.
14 Luckmann 1967.
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made, combined with cultural studies approaches to religion as a meaning-mak-
ing system through reference to Clifford Geert’s Religion as a Cultural System.15
Finally, it could be interesting to focus on the framing of the narrative. 
Through consideration of the tin and the foot that closes its lid – cutting off 
the fingers of the protagonist (fig. 1) – the animated film could be used to 
illustrate theories of the equivalence of religion and other societal spheres, 
particularly the economic. Both systems provide existential orientation for 
individuals and society by constructing transcendent powers that lead the 
world and the market, respectively. What concepts of religion highlight the 
influence of external powers on the world and history? What concepts of 
economics operate with the idea of a transcendent regulating force? Are 
there parallels? Or differences? And, more generally, what questions could 
be addressed by considering religion as functionally equivalent to other 
societal systems too, like politics or media? Here the range of contempo-
rary approaches one could use is really broad. For students familiar with 
German, a helpful conversation partner might be the transdisciplinary ap-
proaches to religion in Religion – Wirtschaft – Politik.16
It is not a good idea to use a short film as merely an illustration of theories. 
Instead, a production like A Life in a Tin should be analysed as an independent 
work of art, as a multi-modal audio-visual medium capable of elaborating 
complex dimensions of human life in a few minutes. In other words, engag-
ing in detailed film analysis is indispensable for working with audio-visual 
sources in teaching. Only the in-depth exploration of the short film will throw 
light on problems and questions we can address by engaging with theories 
and classic positions. Therefore, presenting a short film like A Life in a Tin in 
a course in an academic setting is not just a helpful way of introducing and 
contextualising dry and complex theoretical thinking about religion but also 
an excellent example for the inspiring role the arts can assume when it comes 
to conceptualising intriguing questions in academia. This short film re-enacts 
the feelings, fears, desires, and limitations of a decade in which many intellec-
tual discourses were formulated. The 1960s has gifted us sociological, anthro-
pological, and cultural studies approaches to religion that have contributed 
significantly to the consolidation of the study of religion as we teach it today. 
The mixture of criticism, simplicity, and irony in Bozzetto’s animated film 
articulates a view of society, culture, and religion that is still inspiring today.
15 Luckmann 1967; Geertz 1966.
16 Liedhegener/Tunger-Zanetti/Wirz 2011.
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Filmography
Mister Tao (Bruno Bozzetto, IT 1988, 2′35″).
A Life in a Tin (Una vita in scatola / Une vie dans une boîte / Ein Leben in der 
Schachtel, Bruno Bozzetto, IT 1967, 6′).
32 | Daria Pezzoli-Olgiati www.jrfm.eu 2022, 8/2, 17–32