Gendered Metaphors of Territorial Subordination, Theologies of Independence and Images of a Liberated Future: Sodaro & Di Bella’s Làssami as a Sicilian Decolonial Allegory (original) (raw)
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In celebration of the 60 th anniversary of the publication of Giuseppe Tomasi di Lampedusa's Il gattopardo (1958, The Leopard 1960), this symposium presents an interdisciplinary discussion of the political, social, cultural and literary contexts directly addressed and/or connected to Tomasi di Lampedusa's masterpiece and Visconti's film. These papers will bring to the fore the island of Sicily with its multilayered cultural landscape. The 3-day symposium will offer the opportunity to discuss trans-historical issues of political and social unity and cohesion in the face of contemporary cultures of ideological fragmentation, devolution and identity politics.
Simona Storchi is Lecturer in Italian at the University of Leicester. She has published on Italian Modernism and the Avant-garde, the relationship between Fascism and culture, 20th century Italian literature, art criticism, periodicals, and the relationship between classicism and modernity. She co-curated the exhibition 'Against Mussolini. Art and the Fall of a Dictator' (London, 2010).
During the 1990s, concern over the future of Italy, fuelled by the threat of separatist movements and increasingly evident social fragmentation, focused attention once more on the question of national identity.1 As cinema played its part in this debate, the question arises as to how it was represented on screen. In line with a trend often observed in contemporary European filmmaking, spatial representation proved to be an effective way of exploring the theme of identity.2 In this, a familiar element is to be found in the road movie tradition, in which the protagonists' self-awareness and the achievement of personal goals come about by means of a journey through many obstacles.3
NeMLA Italian Studies, Volume XLII, Special Issue- Italian Masculinities, 2020
“Making the (Post)colonial Man” begins with a succinct overview of the historical and theoretical underpinnings that intersect gendered expectations of a desirable male identity and the future of Italy. Following this introduction, I provide to a concise summary of the intertwined motifs of onscreen father-son reconciliation and paternal redemption in Camerini’s and Alessandrini’s ‘conversion dramas,’ focusing in particular on the filmmakers’ similar approaches to producing a man fit for Fascist Italy’s empire. The latter half of this piece contributes to the growing body of work examining connections between Italy’s colonial past and migration trends in contemporary Italian media. Treating Saimir and La prima neve as case studies, I assert that recent films put forth male migrant characters who mimic, but also modify, the behaviors performed by Italian protagonists of Fascist era features. Through my analyses, I show that fashioning the (post)colonial man often involves processes of control enforced during Italian Fascism’s foray into imperial expansion, such as securing borders, adhering to (hetero)normative standards of time and space, and eradicating ethno-racial differences in order to safeguard the nation’s supposedly homogenous identity.
Humanities, 2021
The article examines an ensemble of gender and migrant roles in post-war Neorealist and New Migrant Italian films. Its main objective is to analyze gender and placemaking practices in an ensemble of films, addressing these practices on a symbolic level. The main argument of the article is that the way gender and migrant roles were conceived in the Italian Neorealist and New Migrant Cinema was based on the intention to challenge certain stereotypes characterizing the understanding of national identity and ‘otherness’. The article presents how the roles of borgatari and women function as devices of reconceptualization of Italy’s identity, providing a fertile terrain for problematizing the relationship between migration studies, urban studies and gender studies. Special attention is paid to how migrants are related to the reconceptualization of Italy’s national narrations. The Neorealist model is understood here as a precursor of the narrative strategies that one encounters in numerous films belonging to the New Migrant cinema in Italy. The article also explores how certain aspects of more contemporary studies of migrant cinema in Italy could illuminate our understanding of Neorealist cinema and its relation to national narratives. To connect gender representation and migrant roles in Italian cinema, the article focuses on the analysis of the status of certain roles of women, paying particular attention to Anna Magnagi’s roles.
Rome urban studies non-place ecocriticism post-colonialism national identity eleonora sartoni Rutgers, The State University of New Jersey at the margins of rome, at the margins of the world: The Hawks and the Sparrows and Sacro GRA as peripatetic analyses of capitalist society abstract This article examines the depiction of Rome's periphery in Pier Paolo Pasolini's Uccellacci e Uccellini (The Hawks and the Sparrows) (1966) and in Gianfranco Rosi's Sacro GRA (2013) by focusing on the types of shots, montage and the role of sound. In both films, the directors' cinematic use of specific, local non-places offers the possibility to reflect not only on the margins of the Italian capital, but also on the global effects of consumerism and capitalism. Marc Augé's theory informs the analysis of the process of homogenization that non-places and international architecture activate in the Italian territory and beyond. Moreover, this article both investigates the crisis of national identity in the postcolonial era and proposes an alternative way of dwelling in the world (as proposed by Rosi's film) that touches upon ecocriticism, Henri Lefebvre's Rhythmanalysis and Pasolini's 'cinema of poetry'. contributor details Eleonora Sartoni is a Ph.D. candidate at Rutgers University, where she won the University and Louis Bevier Dissertation Completion Fellowship for the academic year 2017-18. Her research interests focus on cinema, urban studies, biopolitics, ecocriticism and literature exploring the relationship between the www.intellectbooks.com 53 body, society and space. She published the articles 'Ser Cepparello, Masetto e la sacralità della carne: Il pastiche agiografico in Pier Paolo Pasolini e Giovanni Boccaccio' ('Ser Cepparello, Masetto and the sacredness of the flesh: The hagiographic pastiche in Pier Paolo Pasolini and Giovanni Boccaccio') in the book Pasticcio Italiano (Italian Pastiche) (Carabba Editore, forthcoming) and '(Mamma) Roma between archaic and modern Italy: Urbanisation and the destruction of poetical dwelling' in
This article examines the precarious masculinity performed by Nader Sarhan, the male migrant protagonist featured in Claudio Giovannesi’s Alì ha gli occhi azzurri (2012). The theoretical framework draws on scholarship from postcolonial studies, film theory, queer theory, and gender studies. In particular, following recent work on representations of non-national male migrant film protagonists as “queer” and thus unassimilable to the national Italian body, the author contends that Nader’s desire for “white,” hegemonic masculinity (sexual and civic) ultimately results in his own undoing.