Rovine e macerie. Permanenze e rimozioni dell’identità coloniale nel cinema italiano dal secondo dopoguerra alle migrazioni contemporanee

Translated title of the contribution: [Autom. eng. transl.] Ruins and rubble. Permanences and removals of colonial identity in Italian cinema from the second post-war period to contemporary migrations

Research output: Chapter in Book/Report/Conference proceedingConference contribution

Abstract

[Autom. eng. transl.] Between the late eighties and the early nineties of the last century, lagging behind other western countries, Italy finally saw a postcolonial memory emerge in literature and in the cultural debate, thanks to Italian and former Italian writers and intellectuals colonies. Before then the memory of Italian colonialism had remained in the background of political discourse and public reflection, so much so that there is talk of the removal or cancellation of colonial history. In reality, in the 1950s and 1960s a considerable production of colonial films developed, which however tended to perpetuate the idea of a "good colonialism", in which the space dedicated to the description of the enemy (African, German or English, according to historical period recalled) is limited or functional to the emphasis of national heroism. However, among the folds of a rhetorical and often historically inaccurate production, films emerge that deal with the theme in a different way, perhaps suffering from a production and distribution ostracism that is, in turn, an indicator of a process that is anything but pacified by (re) memorial and identity construction. The media studies, moreover, especially the most recent, highlight how, if indeed the theme of colonialism is still not predominant in national film production, references to that experience and to the ideology underlying it are visible. We could then speak of "re-signification" to identify the rewriting of stereotypes rooted in the consciences of Italians and inherent in the past, thinking of the colonial experience as an archive, a reservoir from which to draw, more or less consciously, themes, practices, images. It is with this in mind that, for example, the references to fascist colonialism were read in auteur films such as "The Eclipse" (Michelangelo Antonioni, 1962), the colonial heritage in the representation of the black woman in Italian cinema (especially erotic ) of the seventies, as well as, more recently, the perpetuation of the logic of superiority / subordination in works that represent the African migrant in stereotyped form. In the light of this picture, the essay investigates the function of cinema in the processes of memorial reworking of the Italian colonial experience and of the construction of the post-colonial identity: on the one hand, taking into consideration "uncomfortable" films that have attempted to narrate the Italian colonialism outside the dominant rhetoric ("Secret Violence", Giorgio Moser, 1963, and "Time to Kill", Giuliano Montaldo, 1989) and, on the other hand, to trace the "phantom raids", within the narrative fabric of some significant examples of contemporary cinema, of characters and situations that seem to allude to our colonial history and to the processes of memorial reworking of which it was the subject.
Translated title of the contribution[Autom. eng. transl.] Ruins and rubble. Permanences and removals of colonial identity in Italian cinema from the second post-war period to contemporary migrations
Original languageItalian
Title of host publicationCinema e identità italiana. Cultura visuale e immaginario nazionale fra tradizione e contemporaneità
Pages629-637
Number of pages9
Publication statusPublished - 2019
EventConvegno Internazionale di Studi “Cinema e identità italiana” - Università Roma Tre
Duration: 1 Jan 2019 → …

Conference

ConferenceConvegno Internazionale di Studi “Cinema e identità italiana”
CityUniversità Roma Tre
Period1/1/19 → …

Keywords

  • Cinema coloniale e cinema della migrazione
  • Cinema italiano e memoria coloniale
  • Tempo di uccidere
  • Violenza segreta

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