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• W224337974 abstract "The Riterritorialization of the Past Through the Cinema. The Old and the New School In Italian cinema the conception of the past still constitutes an indispensable territory to visit, to observe, to interpret. Carlo Lizzani will shoot in Rome Celluloide, the story of the working days of Roma citta aperta. The years portrayed in Celluloide were years full of hope, something Lizzani feels we need today. Since one cannot do that, the postmodern art form can point to the original and represent the making of it. The Resistance, poverty, the dissolution of old ideologies were some of the propelling forces at the historical outset of neorealism. In Italy's postwar condition the term neorealism became descriptive of an ideological progressivism during a time of poverty. While living the neorealist moment, Italy was also moving toward an economical rebirth. The cinema of poverty had to be transcended. Roberto Rossellini himself realized that one cannot go on filming bombed cities for ever. Slowly progressing into the 1960s, Italian Cinema moved on from the production of neorealist cinema and in the following decades Italian filmmakers continued, in different ways, to deal with the legacy of the neorealist heritage. Gradually, neorealist cinema became part of collective consciousness. It signified a time and a place to be stored in memory, to be remembered, observed, interpreted, revisited. At the end of the 1980s the confrontation with the past and history in the cinema takes various forms of riterritorialization. The re cognition of the past has taken the form of overt citations which steal pieces of history. This recognition appears, in a form or another, in many films of the new generation of Italian film directors. In this essay I will be able to discuss, for obvious reasons, only a selection of the films produced in the last decade. (1) Ideology, Discourse and Maniera Generally speaking Italian Cinema has always been, from its very origin, a cinema that never detached itself from the expression or the interpretation of ideology, whether it be Fascist, Marxist, or Christian. The treatment of propaganda and ideology-related material or of documentary material always and systematically underwent a fictionalization process through the medium of cinema canalizing the story duration into plot and then into screen duration to deliver a politically oriented message. The new generation of directors has rejected the notion of ideology as a fixed set of ideas, and as close conceptual system that tries to give shape to a style of thinking. Similarly to Michel Foucault's attitude toward ideology, the new set of systematic beliefs in Italian cinema seems to have substituted traditional concepts of ideology for that of (2) The apparent discourse of a would-be ideology in the latest Italian cinema is that of multiplicity and multiple directions and forms that recall Gilles Deleuze's figure of the rhizome which moves into infinite directions. As Foucault sees in discourse the production of the social itself, the new cinema offers a study of power, knowledge, and the social through a re-evaluation of language within the social-cultural practice of discourse in film. The unprecedented attention given to scriptwriting, largely derived from literary and theatrical sources, is not an incident but a symptom of the new direction in filmmaking. This discourse takes the form of repetition, self-conscious and overt interpretation. It differes from the sources it repeats and represents to launch the discursive practice that focuses on the present problems of the social, whether it be private or public. With repetition and interpretation one witnesses a phenomenon of appropriation, a form of theft, and consequent recycling of the objects from old forms of ideologies to continue creativity through discourse. (3) The new cinema is in a condition of transition and is moving toward the attainment of power. …" @default.
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• W224337974 date "1997-03-22" @default.
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• W224337974 title "Recent Italian Cinema: Maniera and Cinematic Theft" @default.
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