Volume 5, Issue 1, April 2016
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ItemLand, Culture and New Ways of Belonging: Encounters between Italian migrants and Indigenous Australians in Far Away is Home. La storia di Clely (Diego Cenetiempo, Australia/Italy, 2012)(Department of Languages and Applied Linguistics, Flinders University, 2016-04)Stories of encounters between Italian migrants and Indigenous Australians have rarely been portrayed in film and documentary form by either Italian or Australian filmmakers, reflecting a lack of interest that is not incidental but, as I propose in this paper, can be better understood as constitutive to how migrants’ sense of belonging and identity is negotiated in contemporary Australia. To do so, I consider Far Away is Home. La Storia di Clely, a 2012 short documentary by Italian filmmaker Diego Cenetiempo that retells the story of Clely Quaiat Yumbulul, a Triestine Italian migrant who, after moving to Galiwin’ku on Elcho Island, married Warramiri leader and artist Terry Yumbulul and now identifies herself as part Triestine and part Indigenous. Drawing on theories of diasporic and multicultural filmmaking and on scholarship on whiteness, migration and identity studies within the Australian context, this paper argues that Far Away is Home reframes Clely’s story of migration to Australia as an encounter with Warramiri country and culture, thus proposing alternative and decolonizing modes of belonging and identity.
ItemCome cambiano il cinema italiano e il suo studio: il cinema translocale e l’evoluzione della rappresentazione di un’altra cultura. Il caso dei registi italiani in Cina (1957-2012)(Department of Languages and Applied Linguistics, Flinders University, 2016-04)I cambiamenti epocali causati dalla globalizzazione sono caratterizzati tanto dall’ascesa di nuovi protagonisti economici e politici su scala planetaria e dal contemporaneo appannamento di paesi avanzati, quanto da profonde trasformazioni in ogni settore dell’attività umana, dall’economia all’arte. Anche il cinema italiano è condizionato da questi cambiamenti, che comportano la necessità di ridefinire l’idea stessa di cinema nazionale, approfondendo i concetti di cinema postnazionale e translocale. Questo articolo intende contribuire a tale riflessione partendo da sette casi-studio significativi, ossia i sette lungometraggi girati da registi italiani nella Repubblica Popolare Cinese fra il 1957 e il 2012. La loro storia produttiva consente di illustrare efficacemente come il concetto di cinema nazionale italiano si sia modificato nell’arco di oltre mezzo secolo. Questi film, inoltre, pur rappresentando la Cina dal punto di vista di artisti e intellettuali outsiders, di fatto sono intrisi di riferimenti più o meno impliciti all’Italia e dunque finiscono per mettere a confronto due culture ‘altre’ prima, durante e dopo il sovvertimento dei rispettivi ranghi economici.
ItemTaking the pulse: Gender, sexuality and social identity in the new millennium(Department of Languages and Applied Linguistics, Flinders University, 2016-04)At first glance, post-2000 Italian cinema may appear to be undergoing a new, though still limited, golden age, the main characteristics of which are an increased presence of women, the expression and portrayal of ‘alternative’ sexuality, and the representation of social identities sufficiently durable to survive (and possibly thrive in) the volatile present with its apparently limitless “liquid” flexibility, deregulation of social relationships, and loosening and transformation – if not total crumbling – of social, religious and working institutions that Zygmunt Bauman describes in his seminal 2003 book Liquid Modernity. This article offers an overview of gender, sexuality, and social identity in Italian cinema from 2000 to the present day, that by its very nature is not exhaustive but focuses on the most significant examples and trends in films and data, assessing the progress, or lack of it, achieved in that period.
ItemAn early presence of Italians in the Australian film industry: The Pugliese family(Department of Languages and Applied Linguistics, Flinders University, 2016-04)This article attempts to trace the rise and fall of the Pugliese family which represents, perhaps, the earliest involvement of Italians in the Australian film business. An immigrant from Southern Italy, Antonio Pugliese arrived in New South Wales in 1881 and by the early 1900s had become a successful film exhibitor, owning and managing three cinemas in Sydney. Following his death, his family expanded its activities into film production, financing, among other things, one of Raymond Longford’s early triumphs. The move, originally crowned with success, ultimately proved to be ill-fated and the family eventually withdrew from the film business altogether.
ItemTerra matta on the screen: Film in the form of reliquary(Department of Languages and Applied Linguistics, Flinders University, 2011-12)The process of adapting a book to create a film has generated an expanding specialist literature on its theory and practice; a substantial toolbox of concepts and tropes to describe the nature of the cross-media shifts is now available to analysts (Stam 2005). The conversion into an acclaimed film of the best-selling autobiography by a Sicilian manual worker and autodidact, Vincenzo Rabito, offers an opportunity to explore further ways of depicting the relationship. Here I examine the treatment of Rabito’s original typescript in the film from which it derives and suggest that the metaphor of a reliquary captures to particular effect the intentions of the director, the presentation of the text on the screen and the impact of the film on audiences.
ItemUna certa tendenza del cinema italiano(Department of Languages and Applied Linguistics, Flinders University, 2016-04)