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ITALIAN LITERARY and CINEMATIC REPRESENTATIONS of CHINA and the CHINESE (1949-2011) Xin Liu a Dissertation Submitted to the Facu ITALIAN LITERARY AND CINEMATIC REPRESENTATIONS OF CHINA AND THE CHINESE (1949-2011) Xin Liu A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for degree of Doctor of Philosophy in the Department of Romance Studies. Chapel Hill 2015 Approved by: Federico Luisetti Ennio Rao Roberto Dainotto Marisa Escolar Amy Chambless 0 © 2015 Xin Liu ALL RIGHTS RESERVE ii ABSTRACT Xin Liu: Italian literary and cinematic representations of China and the Chinese (1949-2011) (Under the direction of Federico Luisetti) Italy and China have long shared a history of influential economic and cultural ties, and their communication is an important subject in intercultural studies. Although the association of Italians with China in ancient times has been sufficiently analyzed, the Italian textual and visual construction of the People’s Republic of China (PRC) and the Chinese remains a subject that is rarely touched by scholars. My research project provides some of the pieces that are now missing from the puzzle of Sino-Italian relations and cross-cultural studies. The dissertation focuses on the portrayals of the PRC and its people in Italian travel notes, reportage, as well as fiction and documentary movies produced from 1949 to 2011. Through analysis of works of Italian authors and filmmakers, such as Franco Fortini, Curzio Malaparte, Goffredo Parise, Alberto Moravia, Michelangelo Antonioni, and Andrea Segre, the dissertation explores the romanticized manifestations of the Red Utopia in the 1950s, the critical reassessment of Maoist China in the 1960s and 1970s, and the stereotypical portrayals of China and the Chinese in recent Italian fiction movies. By setting the changing representations in their historical context, the dissertation challenges come prevalent judgements and interpretations in the existing, limited scholarship on the theme, and reveals the influences of complex social, political, and cultural factors behind the transformation.The dissertation combines a variety of critical approaches drawn iii from post-colonialism, film studies, gender studies, social psychology, and political theory to study the changing representations, and reveals the influences of complex factors in the (re)construction of identity, with the aim of proposing alternative interpretations, and providing some of the pieces that are currently missing from the puzzle of cultural studies. iv To Binghui Liu and Xia Huang, my dear parents and my foundation. I could not have done this without you. Thank you for all of your support along the way. Words cannot express how much I love you. v ACKNOWLEDGEMENTS I would never have been able to finish my dissertation without the guidance of my committee members, and the generous finiancial support from the Royster Fellowship. I would like to express my deepest gratitude to my advisor, Dr. Federico Luisetti, for his excellent guidance, caring, patience, and providing me with an excellent atmosphere for doing research. Without his persistent help, this dissertation would not have been possible. Besides, I would like to thank the rest of my committee: Dr. Ennio Rao, Dr. Roberto Dainotto, Dr. Amy Chambless, and Dr. Marisa Escolar, for their encouragement, insightful comments, and hard questions. I am sincerely honored to have been a recipient of the five-year Royster Fellowship, which allowed me to focus more on my research, and inspired me to help others and give back to the community. vi TABLE OF CONTENTS LIST OF FIGURES .................................................................................................................. ix INTRODUCTION ..................................................................................................................... 1 CHAPTER 1: NARRATING THE MAOIST UTOPIA .......................................................... 12 Section 1.1: Inspiring Landscapes and Irresistible Déjà Vu ................................................ 13 Section 1.2: Authors of the Chinese Revolution .................................................................. 25 Section 1.3: Achievements of the Red China ....................................................................... 58 Section 1.4: Good-Place or No-Place? ................................................................................. 69 CHAPTER 2: CHINA IS FAR AWAY ................................................................................... 95 Section 2.1: Unrecognizable Utopia..................................................................................... 96 Section 2.2: Changing Face of the Utopians ...................................................................... 109 Section 2.3: Plight of Maoist China ................................................................................... 148 Section 2.4: Truth about China and the Chinese? .............................................................. 163 CHAPTER 3: THE CHINESE IN RECENT ITALIAN MOVIES ....................................... 186 Section 3.1: Female Victims .............................................................................................. 189 Section 3.2: Male Villains .................................................................................................. 205 Section 3.3: Chinese Characters on DVD Covers .............................................................. 215 Section 3.4: Behind the Filmic Stereotypes ....................................................................... 221 vii BIBLIOGRAPHY .................................................................................................................. 236 viii LIST OF FIGURES Figure 1 - DVD cover of The Missing Star ............................................................................ 216 Figure 2 - DVD cover of Shun Li and the Poet ..................................................................... 216 Figure 3 - DVD cover of Two Tigers ..................................................................................... 218 Figure 4 - DVD cover of The Arrival of Wang (Italian Version) ........................................... 219 Figure 5 - A still from The Arrival of Wang ........................................................................... 219 Figure 6 - DVD cover of The Arrival of Wang (English Version) ......................................... 220 ix INTRODUCTION Italy and China have long shared a history of influential economic and cultural ties, and their communication is an important subject in intercultural studies. Although the association of Italians with China in ancient times has been sufficiently analyzed, the Italian literary and cinematic construction of the People’s Republic of China (PRC) and the Chinese remains a subject that is rarely touched by scholars. This dissertation focuses on the portrayals of the PRC and its people in Italian travel notes, reportage, as well as fiction and documentary movies produced from the 1950s to 2011. Through analysis of the changing face of China and the Chinese in works of Italian authors and filmmakers, the dissertation explores the romanticized manifestations of the Red Utopia in the 1950s, the critical reassessment of Maoist China in the 1960s and 1970s, and the stereotypical portrayals of China and the Chinese in recent Italian fiction movies. By setting the changing Italian representations of the PRC and the Chinese in their respective social and historical context, the dissertation challenges some prevalent judgements and interpretations in the existing, limited scholarship on the theme, and reveals the influences of complex factors behind the transformations, in the hope of providing some of the pieces that are now missing from the puzzle of Sino-Italian studies. Among limited scholarship on Italian intellectuals’ travel notes on Maoist China and its people are Angelo Pellegrino’s 1985 work Verso Oriente: viaggi e letteratura degli scrittori italiani nei paesi orientali (1912-1982), and Gaia De Pascale’s 2001 book Scrittori in Viaggio: narratori e poeti italiani del Novecento in giro per il mondo. Both scholars’ analysis echoes Paul Hollander’s theory of political pilgrimage, which holds that all positive 1 depictions of communist countries by Western intellectuals are intentionally embellished at best, and propagandistic at worst. Nevertheless, unlike Pellegrino who has faith in the fidelity of Italian writers’ critical accounts written in the 1960s, De Pascale quotes Edward Said with the implication that all the Italian representations of China and the Chinese are doomed to distortions. The first two chapters of my dissertation examine to what extent Pellegrino and De Pascale’s conclusions are valid or suitable for analyzing the cases of Italian representations of Maoist China in the 1960s and 70s. Due to a lack of previous systematic research on Italian filmic representations of China and the Chinese, the third chapter mainly contains results of my original studies on the theme. Founded in 1949 as a communist country, the PRC was inevitably involved in the Cold War between the United States and the Soviet Union. In order to prevent communist expansion in Asia, the U.S. government advised its allies (including Italy) to form a common front against the PRC. Before the tension between China and the Western bloc eased in the late 1970s, only a few Italian intellectuals, mostly left-wingers, had a chance to visit communist China, and had the power to introduce, depict, and interpret Maoist China to curious
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