Italian Political Cinema by Giancarlo Lombardi, Christian Uva (eds.)

By Giancarlo Lombardi, Christian Uva (eds.)

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25 The images of this work, again placed in a middle position between documentary and video art, thus appear as if ‘stolen’ from reality in a double fashion manner: on one level, there is the inclusion of fragments of the real within an abstract and self-referential horizon in which the digital image foregrounds its oxymoronic status of being simultaneously a documentary and a simulacra; on another level there is the tranche de vie that lightweight equipment like the cell phone accommodates as an ‘instrument of a profound political testimonial’26 that addresses above all the problem of the relationship with the ‘other’.

24 Ibid. 25 The images of this work, again placed in a middle position between documentary and video art, thus appear as if ‘stolen’ from reality in a double fashion manner: on one level, there is the inclusion of fragments of the real within an abstract and self-referential horizon in which the digital image foregrounds its oxymoronic status of being simultaneously a documentary and a simulacra; on another level there is the tranche de vie that lightweight equipment like the cell phone accommodates as an ‘instrument of a profound political testimonial’26 that addresses above all the problem of the relationship with the ‘other’.

24 Gaetana Marrone cittadino al di sopra di ogni sospetto, a box-office success, tells the story of a police officer (Gian Maria Volonté), who assigned to suppress young radicals, kills his mistress and, with the assistance of his superiors, remains above all suspicion. La classe operaia va in paradiso (1971) and La proprietà non è più un furto (1973) tackle the workers’ social and political situation. For Petri, during the years of the economic boom, Italians developed an obsessive need to change the state of things but, at the same time, money became a common object of desire for people across the political isles and class divisions.

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