Public Life, Imaginary, and Identity in Contemporary Italian Film
Edited By Giancarlo Lombardi and Christian Uva
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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