Show Less
Restricted access

Italian Political Cinema

Public Life, Imaginary, and Identity in Contemporary Italian Film


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

Simona Bondavalli - Daniele Luchetti as Author of Politics? Little Teachers and Modest Lessons


| 226 →

Still capture from I piccoli maestri, by Daniele Luchetti (Cecchi Gori Group – Tiger Cinematografica)


| 227 →


Daniele Luchetti as Author of Politics? Little Teachers and Modest Lessons

The inclusion of Daniele Luchetti among the ‘authors of politics’ might not need to be justified, if we consider that his movie Il portaborse revived ‘the great tradition of Italian civil cinema’, according to film historian Gian Piero Brunetta.1 The film indicted an entire political class and anticipated the Mani Pulite investigations that would effectively bring an end to the First Republic. For its biting satire of contemporary institutions, Il portaborse could indeed be inscribed in the genealogy of 1970s political cinema, with the films of Francesco Rosi, Elio Petri, and the Taviani brothers. Beyond Il portaborse, however, Luchetti’s films can be seen as representative of a new form of engagé cinema that is more suited to the political and cultural climate of the Second Republic. The question mark of the title refers thus to the word ‘author’ and interrogates the applicability of this label to a mode of cinematic impegno that I would characterise as ‘artisanal’ rather than auteurist, highlighting with this adjective the craft of middlebrow film-making rather than the expression of an overarching ideology.

Despite being active since the 1980s and having realised ten feature films (the eleventh is announced but not yet released at the time of writing), several of which...

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.