Italy's Postcolonial Cinema and its Histories of Representation

DE Duncan

Research output: Contribution to journalArticle (Academic Journal)peer-review

19 Citations (Scopus)

Abstract

A number of recent films have explored migration to Italy. Responses tend to focus on the novelty of this phenomenon in relation to Italian history, and to the history of Italian cinema as a nation building project. I argue, however, that these films need to be seen in terms of how they racialize the non-Italian subject, and that they are embedded in complex histories of Italian colonialism, and emigration. After surveying work on Italian cinema that engages with questions of race, I consider the representation of Albanian migrants in Munzi's Saimir (2004). Despite the film's sympathetic take on the efforts of clandestine, Albanian migrants to integrate into Italian society, it is mired in a tradition of representation that systematically constructs the non-Italian as extraneous to the nation. Saimir can be seen as a postcolonial film as its representational economy depends on, and extends, a colonial logic of racial difference
Translated title of the contributionItaly's Postcolonial Cinema and its Histories of Representation
Original languageEnglish
Pages (from-to)195 - 211
Number of pages17
JournalItalian Studies
Volume63.2
DOIs
Publication statusPublished - 2008

Bibliographical note

Publisher: Maney

Fingerprint Dive into the research topics of 'Italy's Postcolonial Cinema and its Histories of Representation'. Together they form a unique fingerprint.

Cite this