The increased mobility in the Mediterranean area is strictly connected with the events of 1989. When Eastern Europe’s ideological borders were demolished, the Southern Italian region Apulia was relocated on the Mediterranean map, and from being on the periphery of the Adriatic, unexpectedly it came to occupy a new, centered place. This geographical repositioning inevitably turned Apulia into a free western frontier and an open shore for waves of migrants. This essay discusses the historical events, international political factors, and global economic interests that determined the new destiny of the region. Since the spirit of the frontier has always inspired writers and filmmakers, it was no accident that Italian directors have chosen Apuli...
This dissertation examines the engagement of post-1989 Italian cinema with (im)migration from the gl...
The mass media are more than ever taking on the role of a socialization agency and contributing to t...
With particular reference of Gianni Amelio’s Lamerica (1994) and Ennio De Dominicis’s L’Italiano (20...
Due to the confluence of economic and geopolitical circumstances, in the early 1990s Italy became a ...
The spaces of the city and its periphery have always been central themes in cinema. From its origins...
After World War II, Italian cinema discovers Italy and its landscape. Neorealist cinema is probably ...
In the last twenty years, Italy has experienced an unprecedented influx of immigrants from non-Europ...
Italy is one of the most recent immigratory destinations in Europe, having long been one of the cont...
This article focuses on four relatively early Italian and Spanish films treating “illegal” migration...
The migratory crisis that Italy and Europe are facing today is globally well-know. The continuous ar...
This paper considers what authors are representing in immigration films in Italy through examining 4...
In the context of a reflection on the postcolonial changes at work in southern Europe, the paper loo...
This article is based on “Communicating Migration,” a collective research project that is part of a ...
Pier Paolo Pasolini's work transcends the boundaries of the Italian peninsula. His analysis on Itali...
This essay deals with the role of postcolonial cinema in articulating and visualizing issues of migr...
This dissertation examines the engagement of post-1989 Italian cinema with (im)migration from the gl...
The mass media are more than ever taking on the role of a socialization agency and contributing to t...
With particular reference of Gianni Amelio’s Lamerica (1994) and Ennio De Dominicis’s L’Italiano (20...
Due to the confluence of economic and geopolitical circumstances, in the early 1990s Italy became a ...
The spaces of the city and its periphery have always been central themes in cinema. From its origins...
After World War II, Italian cinema discovers Italy and its landscape. Neorealist cinema is probably ...
In the last twenty years, Italy has experienced an unprecedented influx of immigrants from non-Europ...
Italy is one of the most recent immigratory destinations in Europe, having long been one of the cont...
This article focuses on four relatively early Italian and Spanish films treating “illegal” migration...
The migratory crisis that Italy and Europe are facing today is globally well-know. The continuous ar...
This paper considers what authors are representing in immigration films in Italy through examining 4...
In the context of a reflection on the postcolonial changes at work in southern Europe, the paper loo...
This article is based on “Communicating Migration,” a collective research project that is part of a ...
Pier Paolo Pasolini's work transcends the boundaries of the Italian peninsula. His analysis on Itali...
This essay deals with the role of postcolonial cinema in articulating and visualizing issues of migr...
This dissertation examines the engagement of post-1989 Italian cinema with (im)migration from the gl...
The mass media are more than ever taking on the role of a socialization agency and contributing to t...
With particular reference of Gianni Amelio’s Lamerica (1994) and Ennio De Dominicis’s L’Italiano (20...