I dannati della terra: The Italian left facing the Third World on the eve of 1968

IF 0.2 0 FILM, RADIO, TELEVISION

Journal of Italian Cinema and Media Studies Pub Date : 2021-06-01 DOI:10.1386/JICMS_00083_1

Mariano Mestman

{"title":"I dannati della terra: The Italian left facing the Third World on the eve of 1968","authors":"Mariano Mestman","doi":"10.1386/JICMS_00083_1","DOIUrl":null,"url":null,"abstract":"The Italian film I dannati della terra (The Damned of the Earth) (Orsini and Filippi 1968) is a prominent example of the connection between the European cinema of intervention and the Third World struggles of the 1960s. Set as a ‘film within a film’, the movie\n tells the story of a leftist filmmaker, Fausto Morelli, who faces the challenge of finishing a film about the liberation struggles of sub-Saharan Africa by building on the documentary footage that was bequeathed to him by his student and friend, the young Abramo Malonga, an African (Bantu).\n This article recovers overlooked and little-known documents about the film to show that it is the expression of an active cinematic Third Worldism forged in previous years between the legacy of the Resistenza Partigiana (Italian Resistance) and the Third World struggles of the 1960s. At the\n same time, the article analyses the ways in which the film ‘dialogues’ with experimental trends of the contemporary avant-garde artistic scene in order to challenge the viewer to debate the ‘open ideological hypothesis’ of the film and take an active part in the political\n struggles of the time.","PeriodicalId":41388,"journal":{"name":"Journal of Italian Cinema and Media Studies","volume":"7 1","pages":""},"PeriodicalIF":0.2000,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Journal of Italian Cinema and Media Studies","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1386/JICMS_00083_1","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"FILM, RADIO, TELEVISION","Score":null,"Total":0}

引用次数: 0

Abstract

The Italian film I dannati della terra (The Damned of the Earth) (Orsini and Filippi 1968) is a prominent example of the connection between the European cinema of intervention and the Third World struggles of the 1960s. Set as a ‘film within a film’, the movie tells the story of a leftist filmmaker, Fausto Morelli, who faces the challenge of finishing a film about the liberation struggles of sub-Saharan Africa by building on the documentary footage that was bequeathed to him by his student and friend, the young Abramo Malonga, an African (Bantu). This article recovers overlooked and little-known documents about the film to show that it is the expression of an active cinematic Third Worldism forged in previous years between the legacy of the Resistenza Partigiana (Italian Resistance) and the Third World struggles of the 1960s. At the same time, the article analyses the ways in which the film ‘dialogues’ with experimental trends of the contemporary avant-garde artistic scene in order to challenge the viewer to debate the ‘open ideological hypothesis’ of the film and take an active part in the political struggles of the time.

查看原文本刊更多论文

1968年前夕，意大利左翼面对第三世界

意大利电影《被诅咒的地球》(奥尔西尼和菲利皮1968)是欧洲电影干涉与20世纪60年代第三世界斗争之间联系的一个突出例子。作为一部“片中片”，这部电影讲述了左翼电影制作人Fausto Morelli的故事，他面临着完成一部关于撒哈拉以南非洲解放斗争的电影的挑战，他的学生和朋友，年轻的非洲人(班图人)Abramo Malonga遗赠给他的纪录片片段。这篇文章恢复了被忽视和鲜为人知的关于这部电影的文件，以表明它是前几年在意大利抵抗运动(Resistenza Partigiana)的遗产和20世纪60年代第三世界斗争之间形成的活跃的第三世界主义电影的表达。同时，文章分析了电影与当代前卫艺术场景的实验趋势“对话”的方式，以挑战观众对电影的“开放意识形态假设”进行辩论，并积极参与当时的政治斗争。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

求助全文

约1分钟内获得全文求助全文

来源期刊

Journal of Italian Cinema and Media Studies FILM, RADIO, TELEVISION-

CiteScore

0.40

自引率

50.00%

发文量

期刊介绍： Journal of Italian Cinema & Media Studies is an English-language forum for theoretical, methodological and critical debate on Italian film and media production, reception and consumption. It provides a platform for dialogue between academics, filmmakers, cinema and media professionals. This peer-reviewed journal invites submissions of scholarly articles relating to the artistic features, cultural themes, international influence and history of Italian film and media. Furthermore, the journal intends to revive a critical discussion on the auteurs, revisit the historiography of Italian cinema and celebrate the dynamic role played by new directors. The journal includes a book and film review section as well as notes on Italian film festivals abroad and international conference reports. The profound transformation undergone by the rapidly expanding media environment under the impact of digital technology, has lead scholars in the field of media studies to elaborate new theoretical paradigms and methodological approaches to account for the complexities of a changing landscape of convergence and hybridization. The boundaries between cinema and media as art forms and fields of inquiry are increasingly hybridized too. Taking into account this evolving scenario, the JICMS provides an international arena for critical engagement with a wider range of issues related to the current media environment. The journal welcomes in particular contributions that discuss any aspects of Italian media production, distribution and consumption within national and transnational, social, political, economic and historical contexts.