Public Life, Imaginary, and Identity in Contemporary Italian Film
Edited By Giancarlo Lombardi and Christian Uva
Anna Paparcone - Marco Tullio Giordana’s Cinema and Its Civil Engagement: Truth Does Not Play Anyone’s Game
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Production still from Romanzo di una strage, by Marco Tullio Giordana (Cattleya, Rai Cinema, Babe Films) Courtesy of Angelo Turetta
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Marco Tullio Giordana’s Cinema and its Civil Engagement: Truth Does not Play Anyone’s Game
The intellectual courage to champion truth and political practice are irreconcilable in Italy.
— PIER PAOLO PASOLINI, Scritti corsari, 1975
Since his debut with Maledetti vi amerò in 1980 Marco Tullio Giordana has produced thirteen films, the most recent being Romanzo di una strage (2012). These films do not readily point to any specific left- or right-wing political affiliation. My reflections on Giordana’s political cinema stem from a lively exchange of ideas I had with film critic Cecilia Mangini, according to whom ‘Giordana is born a socialist, anchored to the PSI of Morandi, De Martino, that party that Craxi “suicided” causing the condemnation of Mani Pulite and of the public opinion’.1 With the collapse of the PSI, socialists faced the threat of surrendering ‘that laicism that [they] uniquely represented in our country’ to the PCI; and although ‘the majority kept their ideas […] the price to pay was to shrivel up in political hatred against the communists. Giordana is one of them’.2 Given this account, Mangini concludes that ‘Pasolini, un delitto italiano (1995), I cento passi (2000) and La meglio gioventù (2003) […] belong to the great socialist cultural tradition of Italian cinema; […] Sanguepazzo (2008) and Romanzo...
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