Performing post-migration cinema in Italy: Corazones de Mujer by K. Kosoof

Following consideration of the most common representations of migrants in Italian cinema, where they are often portrayed as victimised and minor subjects, this article analyses a film by Davide Sordella and Pablo Benedetti, Corazones de Mujer (2008) as a ‘post-migration alternative’. This film considers a different way of depicting ‘foreigners’, and addresses the complex issues of gender and sexuality as they emerge at the interface between Western and Arab cultures. Within the conceptual framework of Judith Butler's ‘gender performativity’ and Rosi Braidotti's ‘nomadic subject’, this article aims to suggest an alternative way of representing migrants in Italian cinema as agents of social and gender transgressions.     

The Italian broadcasting system between politics and the market

Silvio Berlusconi's success in the European elections of 1999 reopened the Italian debate over the leader of Forza Italia's conflict of interests in the media and politics. This question is one among many that currently concern the relationship between the media, the market and politics in Italy. The Italian broadcasting system has long been subaltern to the political climate and its idiosyncrasies: in the past, the incapacity or lack of desire to regulate the development of the system made the formation of Berlusconi's broadcasting trust possible;in the present,an excess of political sensitivity prevents thoroughgoing reform.The development of digital pay-TV,coupled with the resistance of the state broadcaster,Rai,to return to a mission of public service,provide good examples of some of the contradictions that mark the Italian path to the globalization of communication.     

Italians and music. Financescape,ideoscape and mediascape

Abstract

This article explores the reasons why Italian contemporary musical life is generally considered to be below the standards set by other European and overseas countries, a situation that is all the more striking when the contrast with Italy's glorious musical tradition in past centuries is born in mind. The failings of public institutions and the inadequacies of policies have often been blamed for this, but in fact the causes are more complex. Arjun Appadurai's terminology that is cited in the title and the subsections of the article that are organized around the themes of ‘financescape’, ‘ideoscape’ and ‘mediascape’ provide the opportunity to develop a better understanding of the complex factors playing a role in the Italian music scene. In terms of structure and organization that greatest problems lay in the production system of the Opera theatres, in the progressive fall in public funds for the performing arts and in a visibly shrinking music market. These factors have created a crisis, but they have deep roots in Italian culture, one symptom being the relatively small demand for music in Italy. These different factors have combined to create a situation of immobility and conservatism that in turn weighs heavily on both serious and pop music.     

Recent publications

A number of key events in the 1990s have helped shape the decade's cinema. The first of these is the conjuncture of the GATT negotiations (culminating in 1993) and the ascendancy of heritage cinema to mainstream dominance in French production at the expense of popular genres such as comedy and the polar. The second is the attempted return of the auteur through the influential 1994 television series ‘Tous les garçons et les filles de leur âge’. Finally, overlapping to some extent with the return of the auteur, is the arrival of a new generation of film‐makers whose political impact in the call for civil disobedience of February 1997 has undoubtedly affected the way in which the French view the films of this younger generation of directors.     

How I Learned To Stop Worrying and Grudgingly Accept Product Placement: Nicolás López,Chilewood and Criteria for A Neoliberal Cinema

This essay examines the films of Chilewood, a collaboration between Chilean director Nicolás López and U.S. director Eli Roth and which is based in Santiago, Chile. Chilewood’s films underscore a stylistic fragmentation in contemporary Chilean cinema, which largely rests on a distinction between genre cinema and auteur cinema. Within the Chilewood endeavour, Chile serves as a node of production for genre cinema (romantic comedies, comedies, disaster films, thrillers, horror) for both domestic audiences and international audiences. While Chilewood’s films provide an instance to examine different forms of transnationalism through production, financing and content, these same facets can be assessed for their neoliberal aspects that vary with each production.     

The role of the sartoria in post-war Italy

This article aims to build on established scholarship by highlighting a little-studied area of fashion production, that of the regional Italian dressmaker. Using one woman's wardrobe as a lens through which to consider established patterns of consumption, this article examines the role of the sartoria or dressmaker in post-war Italy. After a brief discussion of the reputation and dynamics of the related but more exclusive Italian couture, the author defines the characteristics of clothing produced by Italy's regional, small-scale dressmakers and their importance within Italy's fashion system. The author draws conclusions based upon close examination of one woman's wardrobe, created by the Turin workshop Sartoria Grimaldi and now housed in the Victoria and Albert Museum's permanent collection. A selection of this wardrobe was researched and exhibited for the first time in 2014 within the Museum's major exhibition ‘The Glamour of Italian Fashion 1945–2014’.     

Chinese migrants,morality and film ethics in Italian cinema

During 2004–2011, Italian cinema intervened in the ongoing public debates about Chinese immigration to Italy with 15 notable films, which provided a window into the moral and ethical practices of the filmmakers and those of the fictional characters, or interviewees, in their films. This migratory phenomenon, in turn, offered filmmakers a variety of stimuli and perspectives from which to contemplate the moral stakes in screening Chinese migrants in Italy in films. Italian-Chinese films, insofar as they address the self–other relationship, lend themselves to an ethical analysis. I show that Italian documentary films genuinely feature the lives of Chinese migrants through restrained and socially conscious creative means. In contrast, relevant feature films often center on the plight of marginalized native Italian characters, adopting artistic license appropriate to their market-oriented production ethos.     

Esquisses géographiques des récits cinématographiques Canadiens contemporains

Films carry an original geographic discourse. Beyond the vision of an author, they often reflect a society's perspective on territories. The goal of this research is to study the geographic discourse developed by Canadian cinema through an analysis of the places structuring Canadian cinematographic narratives. This analysis is based on the systematic study of a selection of 46 contemporary Canadian films. These films have been transformed into a database of 2200 places using an original geographic reading grid. Analysis of these places identifies the existence of territories under‐ and over‐represented by Canadian cinema, as well as territories of consensus and divergence that exist between different categories of Canadian cinema such as Quebecois, anglophone, and hybrid. Some interesting results include the general lack of interest in the southern hemisphere—notably Latin America—as well as in the Nordic territories (outside of First Nations cinema). It is also interesting to note the quasi‐absence of Vancouver on the screen, while Toronto and the United States appear recurrently. But the most striking result is probably the profound divergence in the way Canadian cinema treats the province of Quebec in general, and the city of Montreal in particular. Montreal is indeed the perfect example of a space of divergence: the city is heavily represented in Quebecois films, but completely ignored in the rest of Canadian cinematographic production. This deep opposition illustrates the importance of downtown Montreal as a symbolic space of Quebec national identity.     

Introduction

The second Berlusconi government came to power at the end of a period of unprecedented change in Italian politics to which the term 'Italian transition' is frequently applied. While the new government's arrival has not brought the transition to an end, the manner of its election powerfully symbolizes the end of much of what was 'unique' about the Italian polity. Such uniqueness derived essentially from the tripolar nature of the country's party system and the 'blocked' character of its democracy. The crisis of the early 1990s gave rise to the onset of a regime transition whose phases can be described analytically by applying Flanagan's (1973) developmental framework and Linz's (1978) breakdown and re-equilibration model. Given the transition's 'stalling', the article considers what kind of and how much change has taken place in the Italian political system and the degree to which the second Berlusconi government might represent a new departure for it. The Introduction concludes by presenting the 'aspects of the Italian transition' discussed in the following five articles.     

The foreign policy of First Republic Italy: new approaches

This introductory article deals with the most recent contributions by Italian historians on the Italian Republic's international role. It aims mainly to demonstrate that a new generation of younger Italian historians is successfully offering new views and interpretations on First Republic Italy's role in the international system, and is also focusing on aspects such as the culture of Italy's political parties, the economic dimension, the role of public opinion, and the influence of external actors on domestic Italian politics – in short, that there has been a turn away from traditional diplomatic history based upon the archives of the Foreign Ministry.     

Geographical knowledge and scientific survey in the construction of Italian Libya

Studies of colonialism and imperial cultures have increasingly recognized the roles of geographical knowledges in European efforts to construct the colonial world materially and imaginatively. Simultaneously, the discipline of geography has undergone a thorough self-critique of its part in the constitution of colonial space. This article discusses the imbrication of geographical knowledges and colonialism in Italy, and especially how the production and circulation of geographical knowledges about Libya worked hand in hand with its territorial occupation and control. In particular, the article discusses the expeditions directed and co-ordinated by the Italian Geographical Society that were despatched into the Saharan interior in the early 1930s to produce 'scientific' representations of the region. The article examines the roles of geographical sciences in the construction of Italian Libya, but particularly how this performance of 'colonial science' surveyed Libya's populations and contributed to their classification as 'primitive' and 'Other'. These conclusions supported Italian authority in the region, but also reinforced the development of a 'colonial consciousness' among Italians as African space and peoples were rendered legible by European epistemologies.     

‘Les routes entrecroisées’: trajectoires et engagements des antiquisants français au XXe siècle

A key trend in post-1995 French cinema has been the return of the social. Analysing this trend, this article seeks to evaluate its politic impact. Using Herve´ Le Roux's Reprise (1997) and Agne ¤ s Varda's Les Glaneurs et la glaneuse (2000) as key meta-texts, it suggests that the current wave of politically engaged cinema needs to be approached in new ways that recognise how films trace the impact of a politically unmediated, 'raw' real on groups or individuals. It further suggests that the withdrawal of political mediation gives the films an essential ambiguity and a melodramatic quality that, rather than mere cliche´, may be a privileged way to engage with the violence of the real. Film is now not so much in the van but dans le bain of a diverse socio-political stirring.     

In the footsteps of George Orwell: Patrick McCarthy as Italian correspondent for Tribune, 1978–1980

Abstract

This paper examines Italy's contribution to the United Nations (UN) and how effective this has been in protecting Italian interests. The first part outlines the areas where Italy's input to the UN has been most relevant in terms of ideas, policies and participation, such as for example the campaign to ban the death penalty and its participation in collective security through participation in UN peacekeeping missions. This paper also highlights the critical role that Italy's long-standing positions on UN reform and the enlargement of the Security Council have played in defining Italy's status in the international community, and asks whether there have been significant changes in the traditional Italian position and its loyalty to the UN and, more generally, to the multilateral system. The second part analyzes the origin and rationale of Italy's policies toward the UN and their effectiveness in defining and defending the national interest. It explores the idea that these policies have been determined by the ‘institutional multilateralism’ of the Italian Constitution, the ‘genetic multilateralism’ of the Italian society and the ‘forced multilateralism’ of Italy as a middle-range power. Italy's positions on the UN and its reform are examined in the light of claims that Italy's foreign policy reflects its ‘complex of exclusion’ and presumed lack of influence in the ‘major stakes’ in world diplomacy.     

From Alpine clubs to Baggio and Berlusconi: Italy reflected through sport

Abstract

This article attempts to convey something of the importance of sport in Italy by tracing a brief outline of its development in parallel with the modern Italian state. It then looks at Patrick McCarthy's vision of Italian sport to see how this fits with the latest developments in this turbulent world. It suggests that the fortunes of Italian sport will be somewhat dependent on the wider economic and political system, where the past and present record is not encouraging. Much bolder reform is needed if the trends of bleeding sport dry through commercial exploitation and the erosion of local loyalties are to be reversed. But even if there is not further reform, sport will use its powers of resistance to survive. Much of the article focuses primarily on soccer, both because it is the country's most popular sport and because it has led trends affecting other major sports including cycling and motor racing.     

From territorial to ethnographic colonies and back again: The politics of Italian expansion, 1890-1912

For Italy, unprecedented mass migration in the late nineteenth century overshadowed the European Scramble for Africa. To secure Italy's place in the new imperial order, Francesco Crispi proposed to harness emigration for colonial expansion, by settling Italy's East African colonies with the surplus Italian population. Defeat at Adwa in 1896 shattered Crispi's project, and turned attention to colonial possibilities elsewhere. Luigi Einaudi and other Liberals trumpeted the value of Italian collectivities or colonie across the Atlantic, where Italy exerted only indirect influence. In theory, these 'spontaneous colonies' would boost the Italian economy at little expense. Italian colonialist societies turned from Africa to the Americas, working to make Italian migration more prestigious, successful and profitable. After 1908, however, Enrico Corradini and the Italian Nationalists mocked these initiatives, and called upon the Italian state to return to traditional imperialism in Africa.     

Power or policy: a comparative study of the cohesion of Italian coalition governments in the First and Second Republics

In the 1990s the Italian political system witnessed momentous changes that have severely impinged upon the country's political parties and party system. What has been the resulting effect on the cohesion of Italian governing coalitions? Has the effect on the nature and workings of governing coalitions been a product of the changing motivations of political parties? This article attempts to tackle the following questions by using the general framework of several formal coalition theories complemented with an analysis of the specific features of the Italian political context.     

Italy's foreign policy toward China: missed opportunities and new chances

Abstract

This essay provides an account of the erratic and troubled history of the relations between Italy and the People's Republic of China since the 1950s. After reaching their highest point in the two years immediately following the Tiananmen events – when Italy, more than any other Western country, worked to break China's international isolation – they have considerably frozen for a long time. The reason has to be found not only in the crisis that, since 1992, has overcome the Italian political system, but even more so in the structural limits of Italy's economic foreign policy and in the lack of a coherent strategy aimed at promoting Italian goods in world markets that provide huge opportunities – opportunities mostly neglected by the political-economic Italian establishment. The Berlusconi government replaced this negligence with fear-mongering behavior and recurring and outspoken protectionist remarks of various centre-right leaders, who feared the potential damage caused by China's increased competitiveness (which represented, in their opinion, an unfair trade practice) to the national industry. Though too recent to say if it will bear fruit, Prodi has made a desperate attempt for Italy to make up lost ground by leading to China what has been emphatically defined ‘the greatest institutional and business mission ever organized by Italy’ just a few months after his comeback to Palazzo Chigi.     

Women and Alcohol Consumption in Fascist Italy

This article examines discourses and practices around women's drinking in Fascist Italy. The history of alcohol production and consumption in Italy during the fascist dictatorship has only recently received attention; alcohol's gendered dimensions, especially women's drinking, have been hitherto overlooked. While the production of legislation, rhetoric and propaganda on alcohol consumption was dominated by men, women were identified as key constituents whose alcohol-related practices could make or break the causes of fascist propagandists, ‘anti-alcohol’ campaigners and alcohol industry associations. The article explains how Italian women were imagined and addressed by regime propagandists, alcohol industry producers and temperance campaigners as (a) simultaneously the principal victims of and responsibility bearers for male excess alcohol consumption, (b) potential ‘crisis-women’ whose unpatriotic drinking choices (whether English tea, French champagne or American cocktails) denoted their prioritising of fashion over fascist values and (c) gatekeepers of family alcohol consumer practices and consumers of alcohol in their own right. It then moves to examine sources left by interwar Italian women to explore what, how and when they drank. Ultimately, it argues that despite attempts to construct women's drinking in archly nationalistic terms, the discourses and actual practices of Italian women around alcohol consumption operated within profoundly transnational frames.