Public Life, Imaginary, and Identity in Contemporary Italian Film
Edited By Giancarlo Lombardi and Christian Uva
Luca Caminati - Gianni Amelio’s Lamerica and the National Body Politics
| 318 →
Still capture from Lamerica, by Gianni Amelio (Alia Film, Cecchi Gori Group – Tiger Cinematografica, RAI-Radiotelevisione Italiana (Rete 1), Arena Films, Vega Film, Canal Plus Productions)
| 319 →
Gianni Amelio’s Lamerica and the National Body Politics
Marx writes that ‘all great world-historic facts and personages appear, so to speak, twice […] the first time as tragedy, the second time as farce’.1 In the first scenes of Gianni Amelio’s Lamerica (1994) we are confronted with a cinematic equivalent of Marx’s statement. Lamerica is in fact a (hi)story twice-told which investigates Italy’s past and present political condition by means of a historic parallel between two different moments in the histories of two countries. The director Gianni Amelio wears Albanian glasses, so to speak, to explore Italy’s present and past by comparing how the notions of nation state and national identity were put into question by Italy’s colonial adventure in Albania, and how these same beliefs are nowadays challenged and displaced by the new structure(s) of ‘Empire’ (as Hardt and Negri define the current space of late capitalism and multinational market expansion).2 The film, while addressing the dramatic events of Albania in the early 1990s, points directly to two specific periods in Italian history – the fascist regime and the emigration to America of the 1930s, and the present era of neo-capitalism – in order to explore the relations between the two countries in two different times, both...
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.