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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.
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Monica Jansen - Daniele Vicari: The Real Is also Human


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Still capture from Il passato è una terra straniera, by Daniele Vicari (Fandango, R&C Produzioni, Rai Cinema, Publimedia 2000 S.r.l., Armadillo Cinematografica)


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Daniele Vicari: The Real Is also Human

Daniele Vicari, together with directors Davide Ferrario and Daniele Luchetti, is considered to be a committed observer not only of present political and sociological reality, but also of Italy’s post-unification history.1 Vicari’s work on the documentary Partigiani (1997), co-directed together with Ferrario and Guido Chiesa, convinced him of the importance to imply himself in first person in the stories he narrates.2 Uomini e lupi (1998, Sacher Prize), a reportage on a young Albanese shepherd living in the Gran Sasso, is the first of a series of documentaries on Albanese immigrants, the last one of which is La nave dolce (2012), on the Vlora ship that entered Bari’s harbor in 1991. Central in these narrations is the pursuit of work as the life-fulfiling prophecy of capitalism. The documentary Non mi basta mai (1999), co-directed together with Chiesa, tells the stories of five workers who acted in the frontline during the Fiat strike in 1980, which symbolically marks the shift towards the new era of post-Fordism and the end of class solidarity.3

Vicari himself has a background of political activism, film festivals, and educational projects.4 In order to bring film analysis to the schools, together with Antonio Medici, in 2004 he wrote...

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