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Filming Coming Communities: Ferzan Ozpetek's Le Fate Ignoranti (Critical Essay)

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eBook details

  • Title: Filming Coming Communities: Ferzan Ozpetek's Le Fate Ignoranti (Critical Essay)
  • Author : Italica
  • Release Date : January 22, 2008
  • Genre: Language Arts & Disciplines,Books,Professional & Technical,Education,
  • Pages : * pages
  • Size : 75 KB

Description

The Cinema of Empire In the past ten years very few Italian filmmakers have borne witness to the emergence of challenging new issues brought about by the epochal and at times catastrophic changes triggered by globalization, emigration, and displacement. Only a handful of directors have shown interest in investigating the spaces of contact, or the encounter of peoples in the new geographies of "Empire," as Hardt and Negri define the current space of late capitalism and multinational market expansion. (1) Some titles of this more socially-aware cinema could encompass Amelio's Lamerica (1994), Bertolucci's Besieged (1998) and Stealing Beauty (1996), Mazzacurati's Vesna va veloce (1996) and Il toro (1994), Torre's Sud Side Story (2000), Henrique Guzzman's Princesa (2001), Risi's Mery per sempre (1989), Ozpetk's Le Fate Ignoranti (2001), and a few others. This group of films and directors-though partly arbitrary and necessarily partial--share the common denominator of a more candid view of the current Italian social and political situation, and a general outlook towards reality that Millicent Marcus defines as a "return to the social referent and to the moral accountability of neorealism" (11). They all take as their starting point the acceptance of a social scenario made of mass immigration from the South and the East, the disintegration of old forms of popular aggregation such as trade unions and political parties, the disappearance of social safety nets in the workplace triggered by the flexibility required by the new economy, and the emergence of minority groups--such as gays, migrants, illegal workers--to the surface of Italian political debate.


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