Show Less
Restricted access

Italian Political Cinema

Public Life, Imaginary, and Identity in Contemporary Italian Film

Series:

Edited By Giancarlo Lombardi and Christian Uva

Despite the powerful anti-political impulses that have pervaded Italian society in recent years, Italian cinema has sustained and renewed its longstanding engagement with questions of politics, both in the narrow definition of the term, and in a wider understanding that takes in reflections on public life, imaginary, and national identity. This book explores these political dimensions of contemporary Italian cinema by looking at three complementary strands: the thematics of contemporary political film from a variety of perspectives; the most prominent directors currently engaged in this filone; and case studies of the films that best represent this engagement. Conceived and edited by two Italian film scholars working in radically different academic settings, Italian Political Cinema brings together a wide array of critical positions and research from Italy, France, the Netherlands, the United Kingdom, Canada, and the United States. The tripartite structure and international perspective create a volume that is an accessible entry-point into a subject that continues to attract critical and cultural attention, both inside and outside of academia.
Show Summary Details
Restricted access

Marguerite Waller - Sabina Guzzanti: Transmediating cinema politico

Extract

| 198 →

Still capture from Draquila: L’Italia che trema, by Sabina Guzzanti (Secol Superbo e Sciocco Produzioni S.r.l., Gruppo Ambra S.r.l., ALBA Produzioni, Bim Distribuzione)



 

| 199 →

MARGUERITE WALLER

Sabina Guzzanti: Transmediating cinema politico

Sabina Guzzanti is a satirist, blogger, television personality, author, activist, film-maker, and producer. Her protean activism has eluded attempts by media mogul/sometime Prime Minister Silvio Berlusconi, the Vatican, and other less visible interests to censor, and even ‘disappear’, her work. Each new attack, in fact, has become an opportunity. When her satirical television show R[A]IOT: Armi di distrazione di massa was cancelled after only one episode and Berlusconi’s Mediaset Corporation sued the RAI network for €20 million (for insulting the Prime Minister), Guzzanti decided to make a documentary investigating the people and interests behind the cancellation of her own show and exposing the mechanisms of censorship that were stifling Italian media more generally.

Overlapping with the making of Viva Zapatero! (2005), Guzzanti also created a second, theatrical episode of R[A]IOT (featuring among others, Nobel Prize-winning playwright Dario Fo and political humourist, blogger, political activist Beppe Grillo), which was performed live before an overflow audience at the Auditorium in Rome. Thousands more watched the show on a giant screen outside the Auditorium. They, in turn, were seen by thousands watching on small independent television stations and in Internet theatres. The film Viva Zapatero! includes footage of this R[A...

You are not authenticated to view the full text of this chapter or article.

This site requires a subscription or purchase to access the full text of books or journals.

Do you have any questions? Contact us.

Or login to access all content.