In Preparation: Books




la cacciata del progenitori masaccio.jpg

Writing and researching Cinema Year Zero revealed Italy’s long post-war as inseparable from a sustained, collective and still unresolved flight from history and the arduous task of memory.  In my current project, I am investigating shame (its corporeality, aesthetics and politics) as the pervasive emotion underlying this period.  Only rarely named and represented, and usually disavowed, this affect shaped the poetic and historical imagination of post-war Italy and from there infiltrated artistic and public discourse.   The study will move from the founding link between shame and Fascism, its subtle interpenetration of collaboration and victimization (e.g. Curzio Malaparte, Primo Levi), to explore the ways in which intellectuals and artists wrote, filmed, and thought in flight from their bios, the personal, corporeal site of shame. This flight is both an intellectual one into art and politics, and a physical escape into transhistorical and transnational geographies such as Ernesto De Martino’s ethnographic expeditions to the South (“la terra del rimorso”) or journeys to the third world like those of Pier Paolo Pasolini and Alberto Moravia. If left unaddressed, shame leaves a lasting legacy across generations, warping not only the perception of the past but the belief in the future, a process I explore in the works of Marco Bellocchio and Bernardo Bertolucci and in historical phenomena like the terrorism of the 1970s.



In preparation: Articles


Photography and Ritual at the Time of the Economic Miracle: Franco Pinna between Lucania and Rome 

Between 1952 and 1959, Italian anthropologist Ernesto de Martino organized a series of expeditions in the southern Italian region of Lucania accompanied by photographer Franco Pinna. The essay explores the encounter between the disappearing world of the peasants, with its practices of mourning and healing, and modern photographic technology, which purports to simply record yet performs its own rituals of mourning and healing. What do these two systems of practices reveal about the hybrid temporality and geography of the Italian miracolo economico?  What relationships exist between anthropological photography and the development of action/scoop photography or the aesthetic of the paparazzi?  Did anthropological photography train the modern photo-journalist, and if so how?  What do Pinna’s photographs of the dance of a “tarantata” have in common with Tazio Secchiaroli’s shots of Aiché Nana’s striptease at the Rugantino Night Club? These radically different bodies of photographs directly engage the mysterious coexistence of ancient and modern, sacred and profane, contained in the epithet – “Miracolo Economico” – used to denote this time in Italy.