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Palermo As a Postmodern Carnival: Forms of Resistance in the Cinema of Ciprì and Maresco

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Palermo As a Postmodern Carnival: Forms of Resistance in the Cinema of Ciprì and Maresco Middlesex University Research Repository An open access repository of Middlesex University research http://eprints.mdx.ac.uk Longo, Abele (2016) Palermo as a postmodern carnival: forms of resistance in the cinema of Ciprì and Maresco. PhD thesis, Middlesex University. [Thesis] Final accepted version (with author’s formatting) This version is available at: https://eprints.mdx.ac.uk/19414/ Copyright: Middlesex University Research Repository makes the University’s research available electronically. Copyright and moral rights to this work are retained by the author and/or other copyright owners unless otherwise stated. The work is supplied on the understanding that any use for commercial gain is strictly forbidden. A copy may be downloaded for personal, non-commercial, research or study without prior permission and without charge. Works, including theses and research projects, may not be reproduced in any format or medium, or extensive quotations taken from them, or their content changed in any way, without first obtaining permission in writing from the copyright holder(s). They may not be sold or exploited commercially in any format or medium without the prior written permission of the copyright holder(s). Full bibliographic details must be given when referring to, or quoting from full items including the author’s name, the title of the work, publication details where relevant (place, publisher, date), pag- ination, and for theses or dissertations the awarding institution, the degree type awarded, and the date of the award. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Middlesex University via the following email address: [email protected] The item will be removed from the repository while any claim is being investigated. See also repository copyright: re-use policy: http://eprints.mdx.ac.uk/policies.html#copy Palermo as a Postmodern Carnival Forms of Resistance in the Cinema of Ciprì and Maresco Abele Longo Middlesex University, March 2016 I A Thesis Submitted for the Degree of Doctor of Philosophy PhD Italian Cinema March 2016 Abele Longo Student Number: 2041173 Title: Palermo as a Postmodern Carnival - Forms of Resistance in the Cinema of Ciprì and Maresco Director of Studies: Dr Victoria De Rijke Supervisors: Dr Raynalle Udris and Dr Jan Udris Middlesex University, School of Health and Education, Department of Education Middlesex University The Burroughs London NW4 4BT II DECLARATION This PhD is the result of my own work and includes nothing that is the outcome of work done in collaboration. It has not previously been submitted, in part or as a whole, to any university or institution for any degree, diploma or other qualification. III Contents ABSTRACT............................................................................................................. VI ACKNOWLEDGEMENTS..................................................................................... VII DEDICATION......................................................................................................... X LIST OF FIGURES.................................................................................................. XI NOTE ON TRANSLATIONS................................................................................. XIII INTRODUCTION.................................................................................................... 1 Ciprì and Maresco’s Palermo - Aims and Objectives of the Thesis........... 1 Ciprì and Maresco’s Œuvre........................................................................ 7 Postmodernity and Postmodernism............................................................ 14 Literature Review....................................................................................... 21 Chapter Outline and Methodology............................................................. 26 CHAPTER 1............................................................................................................. 33 CITYSCAPES.......................................................................................................... 33 1.1 The Road............................................................................................................ 34 1.1.1 The creation of a world...................................................................... 34 1.1.2 The road in Italian cinema.................................................................. 41 1.1.3 The chronotope of the road................................................................ 45 1.2 Rubble................................................................................................................. 55 1.2.1 Rubble and neorealism....................................................................... 56 1.2.2 The rape of the Angel......................................................................... 61 1.2.3 Building speculation, from Rosi to Ciprì and Maresco...................... 68 1.3 Sprawling City.................................................................................................... 75 1.3.1 A ‘leprous’ countryside...................................................................... 77 1.3.2 Pasolini’s heritage.............................................................................. 83 1.3.3 A certain kind of rural........................................................................ 92 IV CHAPTER 2............................................................................................................. 96 BODIES.................................................................................................................... 96 2.1 The Carnivalesque.............................................................................................. 96 2.1.1 Neo-baroque trajectories.................................................................... 97 2.1.2 The carnivalesque body...................................................................... 105 2.1.3 The kynical body................................................................................ 111 2.2 An All-Male World............................................................................................. 118 2.2.1 Mothers and sons................................................................................ 119 2.2.2 The myth of the ‘cockerel man’......................................................... 125 2.2.3 Longing for the feminine................................................................... 133 2.3 Hunger................................................................................................................ 143 2.3.1 Hunger and Italian cinema................................................................. 143 2.3.2 The aesthetics of hunger..................................................................... 152 2.3.3 Hunger, death and the sacred............................................................. 159 CHAPTER 3............................................................................................................. 173 IDENTITIES............................................................................................................. 173 3.1 Sicilianity............................................................................................................ 175 3.1.1 Pirandello’s influence......................................................................... 177 3.1.2 Pirandello’s concept of humour......................................................... 186 3.1.3 A mock-documentary......................................................................... 191 3.2 The Mafia and the Church................................................................................. 197 3.2.1 From Salvatore Giuliano to GoodFellas............................................ 199 3.2.2 Totò Christ and Totò Mafioso............................................................ 206 3.2.3 Lucky Luciano and the Cardinal........................................................ 213 3.3 Dialect versus Italian.......................................................................................... 220 3.3.1 The subtitling of dialects in Italian cinema........................................ 220 3.3.2 Italian as the language of the Other.................................................... 227 3.3.3 Humour and swearing........................................................................ 230 CONCLUSION......................................................................................................... 238 Aesthetics and the Use of Humour.............................................................. 238 Summary of Findings.................................................................................. 245 Ciprì and Maresco’s Legacy and Further Research.................................... 252 REFERENCES......................................................................................................... 260 V Abstract This thesis aims to assess the originality, the aesthetic value and the ethical stance of Daniele Ciprì and Franco Maresco’s cinema through an examination of the representation of Palermo in their three feature-length films Lo zio di Brooklyn / The Uncle from Brooklyn (1995), Totò che visse due volte / Totò Who Lived Twice (1998) and Il ritorno di Cagliostro / The Return of Cagliostro (2003) and their works on video. The aim is to demonstrate how their cinema reflects a need to delve deeply into the most unsettling aspects of Sicilian society and acts as a form
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