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Equivocal Subjects Between Italy and Africa—Constructions of Racial and National Identity in the Italian Cinema

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Equivocal Subjects Between Italy and Africa—Constructions of Racial and National Identity in the Italian Cinema Equivocal Subjects Between Italy and Africa—Constructions of Racial and National Identity in the Italian Cinema Shelleen Greene 99781441190437_FM_Rev_txt_prf.indd781441190437_FM_Rev_txt_prf.indd iiiiii 33/13/2001/13/2001 66:57:34:57:34 PPMM Continuum International Publishing Group 80 Maiden Lane, New York, NY 10038 The Tower Building, 11 York Road, London SE1 7NX www.continuumbooks.com © Shelleen Greene, 2012 All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the written permission of the publishers. ISBN: HB: 978-1-4411-9043-7 A part of Chapter 3 has been previously published as “Il Mulatto: The Negotiation of Interracial Identity in the Italian Post-War Narrative Film,” in Terrone to Extracomunitario: New Manifestations of Racism in Contemporary Italian Cinema, ed. Grace Russo Bullaro (Leicester: Troubador Publishing Ltd, 2010), 25–60. Library of Congress Cataloging-in-Publication Data Greene, Shelleen. Equivocal subjects: between Italy and Africa—constructions of racial and national iden- tity in the Italian cinema/by Shelleen Greene. p. cm. Includes bibliographical references and index. Includes f lmography. ISBN-13: 978-1-4411-9043-7 (hardcover: alk. paper) ISBN-10: 1-4411-9043-0 (hardcover: alk. paper) 1. Racially mixed people in motion pictures. 2. Race in motion pictures. 3. Blacks in motion pictures. 4. Africa, North—In motion pictures. 5. Italy—In motion pictures. 6. Motion pictures—Social aspects—Italy. 7. Motion pictures—Political aspects—Italy. I. Title. PN1995.9.R23G84 2012 791.43’652905--dc23 2011038820 Typeset by Newgen Imaging Systems Pvt Ltd, Chennai, India Printed and bound in the United States of America 99781441190437_FM_Rev_txt_prf.indd781441190437_FM_Rev_txt_prf.indd iivv 33/13/2001/13/2001 66:57:35:57:35 PPMM To Roma Webb-Greene and to the late Mr Albert Hollander 99781441190437_FM_Rev_txt_prf.indd781441190437_FM_Rev_txt_prf.indd v 33/13/2001/13/2001 66:57:35:57:35 PPMM 99781441190437_FM_Rev_txt_prf.indd781441190437_FM_Rev_txt_prf.indd vvii 33/13/2001/13/2001 66:57:35:57:35 PPMM Contents List of Figures viii Filmography ix Acknowledgments xi Introduction 1 Chapter 1: From “Making Italians” to Envisioning Postcolonial Italy 14 Chapter 2: Mixed-Race Relationships in the Italian Colonial and Postcolonial Imaginary 50 Chapter 3: Negotiations of Mixed-Race Identity and Citizenship in the Postwar Cinema and Beyond 116 Chapter 4: Transatlantic Crossings: Representing Hierarchies of Whiteness in the Cinema of the Economic Miracle 185 Chapter 5: Zumurrud in her Camera: Pier Paolo Pasolini and the Global South in Contemporary Italian Film 210 Conclusion 253 Notes 266 Bibliography 289 Index 301 99781441190437_FM_Rev_txt_prf.indd781441190437_FM_Rev_txt_prf.indd vviiii 33/13/2001/13/2001 66:57:35:57:35 PPMM List of Figures 1.1 Maciste and Fulvius Axilla 32 1.2 Gerima at the Dogali monument, Piazzale dei Cinquecento , Rome 46 1.3 Gerima in the Piazzale dei Cinquecento with the descendants of those who fought at Dogali 47 2.1 Enrico and Elisabetta in the Rainbow Bar 89 3.1 Angelo 124 3.2 Catari and the image of the Black Madonna 142 3.3 A scenario for mixed-race unions in the Italian Republic 145 3.4 Making a case against racial integration 145 3.5 Lee evokes the Italian and African American encounters from Italian neorealist f lms 169 3.6 A bust of a “native” female marks Marcella’s racial “in-betweenness” 177 3.7 Racial performance as a means of questioning cinematic realism 178 4.1 Encounter between the Sicilian “immigrant” and the black American 197 C.1 The “survivor” 260 99781441190437_FM_Rev_txt_prf.indd781441190437_FM_Rev_txt_prf.indd vviiiiii 33/13/2001/13/2001 66:57:35:57:35 PPMM Filmography Adwa: An African Victory , directed by Haile Gerima (1999; Washington, DC: Mypheduh Films, 1999) VHS. Angelo , directed by Francesco De Robertis (1949; Italy and USA: Scalera Films S.p.a., 1951) Film. Appunti per un’Orestiade africana (Notes for an African Orestes ), directed by Pier Paolo Pasolini (1970; Bologna: Cineteca Bologna, 2009) DVD. L’assedio (Besieged ), directed by Bernardo Bertolucci (1998; New York, NY: New Line, 1999) DVD. Bianco e Nero , directed by Cristina Comencini (2008; Italy: 01 Distribution S.R.L., 2008) DVD. Cabiria , directed by Giovanni Pastrone (1914; New York, NY: Kino Video, 2000) DVD. Il Decamerone (The Decameron ), directed by Pier Paolo Pasolini (1970; Los Angeles, CA: MGM World Films, 2002) DVD. La donna scimmia (The Ape Woman ), directed by Marco Ferreri (1963; Italy: Surf Video, 2011) DVD. Il f ore delle mille e una notte (Arabian Nights ), directed by Pier Paolo Pasolini (1974; London: British Film Institute, 2001) DVD. fuori/outside , directed by Kym Ragusa (1997; New York, NY: Third World Newsreel) VHS. Il gattopardo (The Leopard ), directed by Luchino Visconti (1963; New York, NY: The Criterion Collection, 2004) DVD. Gomorra (Gomorrah ), directed by Matteo Garrone (2008; New York, NY: The Criterion Collection, 2009) DVD. Ma f oso , directed by Alberto Lattuada (1963; Italy: Rialto Pictures, 2002) DVD. Miracle at St. Anna , directed by Spike Lee (2008; Los Angeles, CA: Touchstone, 2009) DVD. Il Mulatto , directed by Francesco De Robertis (1949; Italy: Scalera Films, S.p.a.) Film. Paisà (Paisan ), directed by Roberto Rossellini (1946; New York, NY: The Criterion Collection: 2010) DVD. Pane e cioccolata (Bread and Chocolate ), directed by Franco Brusati (1974; Fort Wayne, IN: Hen’s Tooth Video, 2002) DVD. La ragazza dalla pelle di luna (Moonskin ), directed by Luigi Scattini (1972; Aquila Cinematograf ca – P.A.C.) VHS. 99781441190437_FM_Rev_txt_prf.indd781441190437_FM_Rev_txt_prf.indd iixx 33/13/2001/13/2001 66:57:35:57:35 PPMM x Filmography Salò o le 120 giornate di Sodoma (Salò or the 120 Days of Sodom ), directed by Pier Paolo Pasolini (1975; London: British Film Institute, 2001) DVD. Senza pietà (Without Pity ), directed by Alberto Lattuada (1948; Italy: Cecchi Gori, 2009) DVD. Sotto la croce del sud (Under the Southern Cross ), directed by Guido Brignone (1938; Italy: Consorzio Italiano Noleggiatori Filmi (CINF) and Esperia Film Distributing Col. Inc.) Film. Tempo di uccidere (A Time to Kill ), directed by Giuliano Montaldo (1989; USA: Westlake, 2002) DVD. Violenza segreta (Secret Violence ), directed by Giorgio Moser (1963; Italy: Globe International Film) Film. Western Union: small boats , directed by Isaac Julien (2007; London: Isaac Julien Studio, 2009) 35 mm, DVD Transfer. 99781441190437_FM_Rev_txt_prf.indd781441190437_FM_Rev_txt_prf.indd x 33/13/2001/13/2001 66:57:35:57:35 PPMM Chapter 4 Transatlantic Crossings: Representing Hierarchies of Whiteness in the Cinema of the Economic Miracle Ref ecting upon her f rst journey from Sicily to northern Italy in 1975, author Edvige Giunta articulates the “in-betweenness” of southern Italian identity, of being “‘white,’ but not quite.” Arriving in Milan, Giunta describes being complimented on her perfect standard Italian and abil- ity to hide all traces of her Sicilian accent, a compliment that evokes feel- ings of both pride and guilt. Giunta describes the experience as one of “passing”—in which she draws parallels to a process undertaken by black and other nonwhite Americans, who because of their light complexion, can pass for white, thereby allowing them to evade institutional racism and take part in the “privileges of whiteness.” As discussed in Chapter 3 , beginning with their arrival in the middle to late nineteenth century, Italian immigrants in the United States, espe- cially southern Italians and Sicilians, were considered an inferior race, a categorization inscribed upon them by existing racial hierarchies in Italy and carried over into their newly adopted country. Giunta’s narrative is notable in that it marks the existence of racial hierarchy in modern Italy, one established during Italy’s post-unif cation north/south division and continuing into the postwar period after Italy had established itself as part of the First World economic and geopolitical bloc. Recalling her arrival in Milan and the feeling of “passing,” Giunta writes: This cultural confrontation triggers my f rst serious ref ection on the signif cance of race and racism. I feel like a trespasser, an outsider who has found a way to be on the inside: I am at once betrayed and betrayer. If I regard myself as Sicilian, I also regard myself as Italian. And these people, who discriminate against my own, are my people, too. Even though I may not be able to articulate it to myself or others, 99781441190437_Ch04_Rev_txt_prf.indd781441190437_Ch04_Rev_txt_prf.indd 118585 33/13/2001/13/2001 66:57:12:57:12 PPMM 186 Equivocal Subjects I become acutely aware that passing is a strategy of survival adopted to escape damning racial identif cation, but one adopted at a certain cost in terms of one’s sense of cultural and personal integrity. I may speak Italian, but there is something inauthentic about my Italian identity: I have adopted and adapted, but remain an outsider. Race, I begin to understand . is a slippery concept, part of a story made up by those in charge of language. 1 Giunta’s ref ections on race and national belonging arise from her experi- ence of migration, physical and psychic movements that are thematically explored in two f lms produced during and after Italy’s economic boom period: Maf oso (1962) and Pane e cioccolata (Bread and Chocolate, 1974). In previous chapters, I argued that cinematic representations of African Italian mixed-race subjects register shifts in the conceptualization of Italian racial and national identity, from the mixed-race Maciste who projects and reconciles (albeit temporarily) Italy’s internal racial heterogeneity (par- ticularly the racialized Italian south and Sicily) to its African colonies in the late Liberal period, to the ejection of the mixed-race Mailù to secure a white Italian-Aryan identity during the fascist era, and the acceptance but ultimate rejection of the mixed-race Angelo from the national body in the post–World War II era.
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