<em>The Forgotten and Marginalized in Italian Cinema</em>

De Feo, Daniele; De Feo, Daniele

The history of Italian cinema is intrinsically linked to the historically forgotten, the marginalized and to the voiceless. One need not think further than Neorealism, whose main characters were the downtrodden, ostracized from society, played by non-professional actors who often came from the very groups producers and directors were attempting to represent. Whether representations of Queer (Visconti’s Ossessione, 1942) or the working class (De Sica’s Bicycle Thief, 1948) (for example) we see how Italian film makes the explicit attempt to overturn narratives constructed by society itself, choosing to create new visions of a country rising from the ruins of World War II. Following were directors such as Pasolini, whose fascination with the sub-proletariat and the underbelly of society came to the forefront in films such as Una vita violenta (1959) and Accattone (1961). With more modern day and contemporary films we see a counterhegemonic trend that has become part of Italian cinema studies discourse, one that raises questions on equity, inclusion and race. For example, films such as Il vizio della speranza (2018)and Freaks out (2021) delve into viewpoints that push against preestablished norms, privileging figures on the margins of society. With this in mind, it can contended Italian film should be discussed and examined as part of this year’s MLA Presidential theme of visibility. The contributions of cinema in Italy to the field in general have certainly been noteworthy and a discussion on examples which underscore how directors and filmmakers have privileged the underprivileged is of great relevance and importance.

From lost historical figures and desperate urban communities to avant-garde feminism, race and disability, this panel will focus on the role of the forgotten, the ignored, and the victims of prejudice throughout the decades of Italian film. Annemarie Lisko will analyze the role of the assassinated anti-fascist Giacomo Matteotti whose memory was completely erased during the regime, but also during the decades that followed, since the nation was attempting to completely distance itself from the era of Mussolini’s reign. The silver screen has attempted, in part, to represent the anti-fascist icon, however, mostly in fleeting glimpses that problematize the relationship the country has with this figure. Hilary Emerson looks to the avant-garde and to a work that promotes multiculturalism through her analysis of Didone non è morta (1987), which addresses Italy’s founding narrative in innovative ways. Giampaolo Molisina examines a series of contemporary films from 2009-2015 which provide a more modern and nuanced representation of the marginalized communities in the Rome, free from preconceived notions and historical biases. Lisa Dolasinski focuses on the role of race and disability as an act of resistance to and liberation from dominant narratives in Italy. Her analysis integrates recent work on race, resistance, and hip-hop into, highlighting the ways in which Autumn Beat (2022) rewrites notions of masculinity, race, and Italian culture in general.

All these studies will contribute to the historical and filmic scholarship in existence, which more than ever emphasis the above-addressed issues. The panel contains research from scholars who make film the main part of their inquiry and given the opportunity, their presentations will shed light on a series of questions which are on the pulse of current scholarship. I would like to emphasize that this panel gives space to a diverse mix of colleagues comprised of contingent faculty and a graduate student. The participants will each present, allotted an equal amount of time as to ensure at least a 15-minute period of discussion necessary to clarify points, share ideas, and draw conclusions. Thank you for your kind consideration.

157 The Forgotten and Marginalized in Italian Cinema: Calls for Papers