Italian Political Cinema PDF
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P A N O R A M AS • I T A L I A N M O D E R N I T I E S P A N O R A M AS • I T A L I A N M O D E R N I T I E S DDDeeessspppiiittteee ttthhheee pppooowwweeerrrfffuuulll aaannntttiii---pppooollliiitttiiicccaaalll iiimmmpppuuulllssseeesss ttthhhaaattt hhhaaavvveee pppeeerrrvvvaaadddeeeddd IIItttaaallliiiaaannn Italian sssoooccciiieeetttyyy iiinnn rrreeeccceeennnttt yyyeeeaaarrrsss,,, IIItttaaallliiiaaannn ccciiinnneeemmmaaa hhhaaasss sssuuussstttaaaiiinnneeeddd aaannnddd rrreeennneeewwweeeddd iiitttsss G lllooonnngggssstttaaannndddiiinnnggg eeennngggaaagggeeemmmeeennnttt wwwiiittthhh qqquuueeessstttiiiooonnnsss ooofff pppooollliiitttiiicccsss,,, bbbooottthhh iiinnn ttthhheee nnnaaarrr--- i Political a rrrooowww dddeeefffiiinnniiitttiiiooonnn ooofff ttthhheee ttteeerrrmmm,,, aaannnddd iiinnn aaa wwwiiidddeeerrr uuunnndddeeerrrssstttaaannndddiiinnnggg ttthhhaaattt tttaaakkkeeesss iiinnn n c a rrreeefffllleeeccctttiiiooonnnsss ooonnn pppuuubbbllliiiccc llliiifffeee,,, iiimmmaaagggiiinnnaaarrryyy,,, aaannnddd nnnaaatttiiiooonnnaaalll iiidddeeennntttiiitttyyy... TTThhhiiisss bbbooooookkk r lo Cinema eeexxxppplllooorrreeesss ttthhheeessseee pppooollliiitttiiicccaaalll dddiiimmmeeennnsssiiiooonnnsss ooofff cccooonnnttteeemmmpppooorrraaarrryyy IIItttaaallliiiaaannn ccciiinnneeemmmaaa bbbyyy L o lllooooookkkiiinnnggg aaattt ttthhhrrreeeeee cccooommmpppllleeemmmeeennntttaaarrryyy ssstttrrraaannndddsss::: ttthhheee ttthhheeemmmaaatttiiicccsss ooofff cccooonnnttteeemmmpppooo--- m b rrraaarrryyy pppooollliiitttiiicccaaalll fffiiilllmmm fffrrrooommm aaa vvvaaarrriiieeetttyyy ooofff pppeeerrrssspppeeeccctttiiivvveeesss;;; ttthhheee mmmooosssttt ppprrrooommmiiinnneeennnttt a r d dddiiirrreeeccctttooorrrsss cccuuurrrrrreeennntttlllyyy eeennngggaaagggeeeddd iiinnn ttthhhiiisss filone; and case studies of the films i a Public Life, ttthhhaaattt bbbeeesssttt rrreeeppprrreeessseeennnttt ttthhhiiisss eeennngggaaagggeeemmmeeennnttt... CCCooonnnccceeeiiivvveeeddd aaannnddd eeedddiiittteeeddd bbbyyy tttwwwooo n d Imaginary, IIItttaaallliiiaaannn fffiiilllmmm sssccchhhooolllaaarrrsss wwwooorrrkkkiiinnnggg iiinnn rrraaadddiiicccaaallllllyyy dddiiiffffffeeerrreeennnttt aaacccaaadddeeemmmiiiccc ssseeettttttiiinnngggsss,,, C h IIItttaaallliiiaaannn PPPooollliiitttiiicccaaalll CCCiiinnneeemmmaaa brings together a wide array of critical positions ri and Identity s t aaannnddd rrreeessseeeaaarrrccchhh fffrrrooommm IIItttaaalllyyy,,, FFFrrraaannnccceee,,, ttthhheee NNNeeettthhheeerrrlllaaannndddsss,,, ttthhheee UUUnnniiittteeeddd KKKiiinnngggdddooommm,,, ia n in CCCaaannnaaadddaaa,,, aaannnddd ttthhheee UUUnnniiittteeeddd SSStttaaattteeesss... TTThhheee tttrrriiipppaaarrrtttiiittteee ssstttrrruuuccctttuuurrreee aaannnddd iiinnnttteeerrrnnnaaa--- U v tttiiiooonnnaaalll pppeeerrrssspppeeeccctttiiivvveee cccrrreeeaaattteee aaa vvvooollluuummmeee ttthhhaaattt iiisss aaannn aaacccccceeessssssiiibbbllleee eeennntttrrryyy---pppoooiiinnnttt a Contemporary ( iiinnntttooo aaa sssuuubbbjjjeeecccttt ttthhhaaattt cccooonnntttiiinnnuuueeesss tttooo aaattttttrrraaacccttt cccrrriiitttiiicccaaalll aaannnddd cccuuullltttuuurrraaalll aaatttttteeennntttiiiooonnn,,, ed Italian Film s bbbooottthhh iiinnnsssiiidddeee aaannnddd ooouuutttsssiiidddeee ooofff aaacccaaadddeeemmmiiiaaa... ) • Giancarlo Lombardi is Professor of Italian and Comparative Literature at the I College of Staten Island and at the Graduate Center/CUNY. He has published ta l extensively on Italian film, television studies, and contemporary Italian litera- ia n ture. He is author of Rooms with a View: Feminist Diary Fiction (2002) and co- P editor of Remembering Aldo Moro (2012), and Terrorism, Italian Style (2012). o l i t Christian Uva is Associate Professor at the University of Roma Tre. His books ic a include Schermi di piombo. Il terrorismo nel cinema italiano (2007), Sergio l C Leone. Il cinema come favola politica (2013), and L’immagine politica. Forme i n del contropotere tra cinema, video e fotografia nell’Italia degli anni Settanta e m (2015). He is the author of numerous articles in international journals and a edited volumes, both on the intersection of politics and history in Italian Edited by cinema and on the theoretical implications of the advent of the digital era. Giancarlo Lombardi ISBN 978-3-0343-2217-1 and Christian Uva www.peterlang.com PETER LANG P A N O R A M AS • I T A L I A N M O D E R N I T I E S P A N O R A M AS • I T A L I A N M O D E R N I T I E S DDDeeessspppiiittteee ttthhheee pppooowwweeerrrfffuuulll aaannntttiii---pppooollliiitttiiicccaaalll iiimmmpppuuulllssseeesss ttthhhaaattt hhhaaavvveee pppeeerrrvvvaaadddeeeddd IIItttaaallliiiaaannn Italian sssoooccciiieeetttyyy iiinnn rrreeeccceeennnttt yyyeeeaaarrrsss,,, IIItttaaallliiiaaannn ccciiinnneeemmmaaa hhhaaasss sssuuussstttaaaiiinnneeeddd aaannnddd rrreeennneeewwweeeddd iiitttsss G lllooonnngggssstttaaannndddiiinnnggg eeennngggaaagggeeemmmeeennnttt wwwiiittthhh qqquuueeessstttiiiooonnnsss ooofff pppooollliiitttiiicccsss,,, bbbooottthhh iiinnn ttthhheee nnnaaarrr--- i Political a rrrooowww dddeeefffiiinnniiitttiiiooonnn ooofff ttthhheee ttteeerrrmmm,,, aaannnddd iiinnn aaa wwwiiidddeeerrr uuunnndddeeerrrssstttaaannndddiiinnnggg ttthhhaaattt tttaaakkkeeesss iiinnn n c a rrreeefffllleeeccctttiiiooonnnsss ooonnn pppuuubbbllliiiccc llliiifffeee,,, iiimmmaaagggiiinnnaaarrryyy,,, aaannnddd nnnaaatttiiiooonnnaaalll iiidddeeennntttiiitttyyy... TTThhhiiisss bbbooooookkk r lo Cinema eeexxxppplllooorrreeesss ttthhheeessseee pppooollliiitttiiicccaaalll dddiiimmmeeennnsssiiiooonnnsss ooofff cccooonnnttteeemmmpppooorrraaarrryyy IIItttaaallliiiaaannn ccciiinnneeemmmaaa bbbyyy L o lllooooookkkiiinnnggg aaattt ttthhhrrreeeeee cccooommmpppllleeemmmeeennntttaaarrryyy ssstttrrraaannndddsss::: ttthhheee ttthhheeemmmaaatttiiicccsss ooofff cccooonnnttteeemmmpppooo--- m b rrraaarrryyy pppooollliiitttiiicccaaalll fffiiilllmmm fffrrrooommm aaa vvvaaarrriiieeetttyyy ooofff pppeeerrrssspppeeeccctttiiivvveeesss;;; ttthhheee mmmooosssttt ppprrrooommmiiinnneeennnttt a r d dddiiirrreeeccctttooorrrsss cccuuurrrrrreeennntttlllyyy eeennngggaaagggeeeddd iiinnn ttthhhiiisss filone; and case studies of the films i a Public Life, ttthhhaaattt bbbeeesssttt rrreeeppprrreeessseeennnttt ttthhhiiisss eeennngggaaagggeeemmmeeennnttt... CCCooonnnccceeeiiivvveeeddd aaannnddd eeedddiiittteeeddd bbbyyy tttwwwooo n d Imaginary, IIItttaaallliiiaaannn fffiiilllmmm sssccchhhooolllaaarrrsss wwwooorrrkkkiiinnnggg iiinnn rrraaadddiiicccaaallllllyyy dddiiiffffffeeerrreeennnttt aaacccaaadddeeemmmiiiccc ssseeettttttiiinnngggsss,,, C h IIItttaaallliiiaaannn PPPooollliiitttiiicccaaalll CCCiiinnneeemmmaaa brings together a wide array of critical positions ri and Identity s t aaannnddd rrreeessseeeaaarrrccchhh fffrrrooommm IIItttaaalllyyy,,, FFFrrraaannnccceee,,, ttthhheee NNNeeettthhheeerrrlllaaannndddsss,,, ttthhheee UUUnnniiittteeeddd KKKiiinnngggdddooommm,,, ia n in CCCaaannnaaadddaaa,,, aaannnddd ttthhheee UUUnnniiittteeeddd SSStttaaattteeesss... TTThhheee tttrrriiipppaaarrrtttiiittteee ssstttrrruuuccctttuuurrreee aaannnddd iiinnnttteeerrrnnnaaa--- U v tttiiiooonnnaaalll pppeeerrrssspppeeeccctttiiivvveee cccrrreeeaaattteee aaa vvvooollluuummmeee ttthhhaaattt iiisss aaannn aaacccccceeessssssiiibbbllleee eeennntttrrryyy---pppoooiiinnnttt a Contemporary ( iiinnntttooo aaa sssuuubbbjjjeeecccttt ttthhhaaattt cccooonnntttiiinnnuuueeesss tttooo aaattttttrrraaacccttt cccrrriiitttiiicccaaalll aaannnddd cccuuullltttuuurrraaalll aaatttttteeennntttiiiooonnn,,, ed Italian Film s bbbooottthhh iiinnnsssiiidddeee aaannnddd ooouuutttsssiiidddeee ooofff aaacccaaadddeeemmmiiiaaa... ) • Giancarlo Lombardi is Professor of Italian and Comparative Literature at the I College of Staten Island and at the Graduate Center/CUNY. He has published ta l extensively on Italian film, television studies, and contemporary Italian litera- ia n ture. He is author of Rooms with a View: Feminist Diary Fiction (2002) and co- P editor of Remembering Aldo Moro (2012), and Terrorism, Italian Style (2012). o l i t Christian Uva is Associate Professor at the University of Roma Tre. His books ic a include Schermi di piombo. Il terrorismo nel cinema italiano (2007), Sergio l C Leone. Il cinema come favola politica (2013), and L’immagine politica. Forme i n del contropotere tra cinema, video e fotografia nell’Italia degli anni Settanta e m (2015). He is the author of numerous articles in international journals and a edited volumes, both on the intersection of politics and history in Italian Edited by cinema and on the theoretical implications of the advent of the digital era. Giancarlo Lombardi and Christian Uva www.peterlang.com PETER LANG Italian Political Cinema p a n o r a m aS • ItalIan ModernItIes Vol. 1 Edited by Pierpaolo Antonello and Robert Gordon, University of Cambridge PETER lANG oxford • Bern • Berlin • Bruxelles • Frankfurt am Main • New York • Wien Italian Political Cinema Public life, Imaginary, and Identity in Contemporary Italian Film Edited by Giancarlo Lombardi and Christian Uva PETER lANG oxford • Bern • Berlin • Bruxelles • Frankfurt am Main • New York • Wien Bibliographic information published by Die Deutsche Nationalbibliothek Die Deutsche Nationalbibliothek lists this publication in the Deutsche National bibliografie; detailed bibliographic data is available on the Internet at http://dnb.d-nb.de. A catalogue record for this book is available from the British library. library of Congress Control Number: 2016931847 Cover image: Viva La Libertà, by Roberto Andò (BiBi Film TV, Rai Cinema) production still. Courtesy of lia Pasqualino. ISSN 2297-8410 ISBN 978-3-0343-2217-1 (print) ISBN 978-3-0353-0815-0 (eBook) © Peter lang AG, International Academic Publishers, Bern 2016 Hochfeldstrasse 32, CH-3012 Bern, Switzerland [email protected], www.peterlang.com, www.peterlang.net All rights reserved. All parts of this publication are protected by copyright. Any utilisation outside the strict limits of the copyright law, without the permission of the publisher, is forbidden and liable to prosecution. This applies in particular to reproductions, translations, microfilming, and storage and processing in electronic retrieval systems. This publication has been peer reviewed. Printed in Germany Contents Acknowledgements ix Prologue 1 Giancarlo Lombardi and Christian Uva Italian Political Cinema: Definitions and Goals 3 Part One: Thematic Approaches 15 Gaetana Marrone Italian Political Cinema: The Early Masters 17 Christian Uva The New Cinema of Political Engagement 31 Nicoletta Marini-Maio Before and After Silvio: A Corpus for Us All 45 Áine O’Healy Bound to Care: Gender, Affect, and Immigrant Labour 57 Anita Angelone Italian Documentaries and Immigration 69 Elena Past Documenting Ecomafia 81 Mary P. Wood Noir Style and Political Cinema 93 vi Alan O’Leary Political/Popular Cinema 107 Vito Zagarrio The ‘Great Beauty’, or Form Is Politics 119 Paolo Russo Gimme (Tax) Shelter: The Politics of the Production System 133 Part Two: The Authors of Politics 149 Ruth Glynn Marco Bellocchio and the ‘New’ Political Cinema 151 Cosetta Gaudenzi Guido Chiesa and Postmodern Impegno 163 Laura Di Bianco Francesca Comencini: Women Outside the Polis 173 Anna Paparcone Marco Tullio Giordana’s Cinema and Its Civil Engagement: Truth Does Not Play Anyone’s Game 185 Marguerite Waller Sabina Guzzanti: Transmediating cinema politico 199 Clarissa Clò Gustav Hofer and Luca Ragazzi’s Trilogy: Comizi d’amore in the Digital Age 213 Simona Bondavalli Daniele Luchetti as Author of Politics? Little Teachers and Modest Lessons 227 vii Marcia Landy Nanni Moretti by Nanni Moretti: The Biopic as Counter-History 239 Claudio Bisoni Paolo Sorrentino: Between Engagement and savoir faire 251 Monica Jansen Daniele Vicari: The Real Is also Human 265 Part Three: Films 277 Nicoletta Marini-Maio Susanna Nicchiarelli’s Cosmonauta: The Space Race, or When Communist Girls Dreamed of the Moon 279 Pierpaolo Antonello Il divo: Paolo Sorrentino’s Spectacle of Politics 291 Millicent Marcus Gomorra by Matteo Garrone: ‘La normalità dello sfacelo’ 307 Luca Caminati Gianni Amelio’s Lamerica and the National Body Politics 319 Danielle Hipkins Nessuno mi può giudicare: Making Over the Prostitute from a Post-Feminist Perspective 329 Gius Gargiulo Mario Martone’s Noi credevamo: History and Fiction 341 Giovanna De Luca Placido Rizzotto and Segreti di Stato: Italian Investigative Cinema and Memory 351 viii Catherine O’Rawe La prima linea: Film, Terrorism, and the Politics of Funding 361 Dana Renga Romanzo criminale as Male Melodrama: ‘It is in reality always too late’ 373 Ellen Nerenberg Tutta colpa di Giuda: Performing Captivity 389 Giancarlo Lombardi Viva la libertà: Language, Politics, and Consensus 399 Selected Bibliography 409 Notes on Contributors 425 Index 435
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