Public Life, Imaginary, and Identity in Contemporary Italian Film
Edited By Giancarlo Lombardi and Christian Uva
Gaetana Marrone - Italian Political Cinema: The Early Masters
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Still capture from Le mani sulla città, by Francesco Rosi (Galatea)
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Italian Political Cinema: The Early Masters
The Prospects for Political Cinema
In 2013, on the occasion of the release of Viva la libertà, Roberto Andò explained that his film was born from a ‘desire for the moral and political reconstruction of our Country’.1 Through two identical twin brothers, but diametrically opposed in character, he compares differing approaches to life and politics and exposes a complex game of fraudulent deception. Andò points to the failure of the political ruling class to convey a collective vision and to the crisis of the historical left as contributing to the loss of all certainties plaguing contemporary Italy.2 His portrayal of the ineffective and loquacious Italian political scene and the flagrant attributes of its leadership, places the director within the political cinematic tradition of Francesco Rosi. Andò denounces the end of an era and the advent of politics as a ‘permanent invention of reality. As an imposture’.3 Thus, the breaking down of a certain way of interpreting ‘political’ processes: the generation of the New Millennium has been deprived of the cultural and ← 17 | 18 → social ideals which once inspired the richness and variety of national cinema. In this context, Andò’s fleeting reference to Federico Fellini’s death in 1993, and how television paraded his body in Studio 5 at Cinecittà as a trophy-spectacle, calls...
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