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Mapping Cinematic Norths

International Interpretations in Film and Television


Edited By Julia Dobson and Jonathan Rayner

Mapping Cinematic Norths presents an international range of research and enquiry into the significance, representation and manipulation of depictions of the ‘North’ in cinema and television. Northern landscapes, soundscapes, characters and narratives are defined and recognized as distinctive image-spaces within film and television. However, the ‘North’ is portrayed, exploited and interpreted in divergent ways by filmmakers and film audiences worldwide, and this volume sheds new light on these varying perspectives.

Bringing together the work of established and emerging academics as well as practising filmmakers, this collection offers new critical insights into the coalescence of North-ness on screen, exploring examples from Britain, Scandinavia, continental Europe, Australia and the United States. With contextual consideration and close readings, these essays investigate concepts of the North on film from generic, national, aesthetic, theoretical, institutional and archival perspectives, charting and challenging the representations and preconceptions of the idea of North-ness across cultural and cinematic heritages.

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Re-Making the Northeast: Trieste in Italian Cinema and the Re-Mediation of Silenced History


Preface: Lunch with family

The two men had been meeting weekly for the past forty years. One is a liberal Slovenian professor, a member of the submerged indigenous community present in Trieste; the other is a quiet communist Italian, a photographer who manages a little shop on the outskirts of the city. One had been confined to the penal house on the island of Ponza, Italy, for five years between 1936 and 1941 as an anti-fascist. The amnesty of 1937 granted him freedom and he used it to work in Belgrade, where the Nazis persecuted him and finally stripped him of every possession to leave him as a refugee in 1944. The other had been excommunicated at the age of eight by a Fascist Priest, became a partisan with Tito and moved to Trieste to trade between the countries, as the Iron Curtain was rather permeable in Yugoslavia. In 1986 this relationship ended, as the professor had died. It took me another twenty years to know how these two men were related. The photographer was my father; the professor was Vladimir, his cousin twenty years older. Nobody had told me part of my family was Slovenian. Born and raised in Trieste as an Italian, no teacher had ever informed me about the Italian policies against the Slavs in the Northeastern part of present day Italy between 1918 and 1945. When I confronted my father with the photos of family he had never cared to name, he...

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