Abstract
You have turned on your TV and have happened on an Italian film. A bunch of Italian guys are playing soccer on a beautiful Mediterranean beach. They argue — imagine that! — about a penalty. Longhaired and handsome, they sport ragtag clothes and decent tans. Around the field, local, beautiful, women look on, pleased. Overall, they could be a bunch of Italian thirtysomethings enjoying their ‘ferie’ in an exotic location.
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Notes and References
Filippo Focardi, ‘La memoria della guerra e il mito del “bravo italiano,”’ Italia Contemporanea, n. 220–221 (September–December, 2000): p. 395. If not otherwise indicated, all translations are mine.
Nicola Labanca, ‘Colonial Rule, Colonial Repression, and War Crimes in the Italian Colonies,’ Journal of Modern Italian Studies, 9: 3 (2004): pp. 308–309.
See Millicent Marcus, After Fellini. National Cinema in the Postmodern Age (Baltimore: Johns Hopkins U.P., 2002): p. 76.
See Lino Micciché, ‘Per una verifica del neorealismo’ in Lino Micciché, ed., Il neorealismo cinematografico italiano, 2nd edn (1977; Milan: Marsilio, 1999).
Brunetta, Storia del cinema italiano, Vol. 3, Dal neorealismo and miracolo economico (1983; Rome: Editori Riuniti, 1993): p. 129.
Alberto Lattuada, ‘Guardie svizzere e utili idioti,’ Filmcritica (May 1954): pp. 87–90.
Cited in Alberto Lattuada ‘Alberto Lattuada. Interno. Giorno,’ in Piero Berengo Gandin, ed., Alberto Lattuada Fotografo. Dieci anni di Occhio Quadrato (Florence: Alinari, 1982): p. 9.
Giuseppe De Santis, ‘È in crisi il neorealismo?’ Filmcritica, 1: 4 (March 1951): p. 109.
Luca Malavasi, Gabriele Salvatores (Milano: Il Castoro cinema, 2004): p. 8.
Lidia Santarelli, ‘Muted Violence: Italian War Crimes in Occupied Greece,’ Journal of Modern Italian Studies, 9: 3 (2004): p. 280.
Enzo Monteleone, Mediterraneo (Milan: Baldini and Castoldi, 1992): p. 8.
see Pasquale Iaccio, Cinema e storia. Percorsi immagini testimonianze (Napoli: Liguori, 2000): pp. 461–463.
See Renzo Renzi, ‘L’armata s’agapò,’ Cinema Nuovo, 2: 10 (1 May 1953): p. 74.
See Massimo Mida and Giovanni Vento, ‘Storie Italiane,’ Cinema Nuovo, 74 (10 January 1956): pp. 13–20. Citation from p. 16.
Enzo Monteleone, ‘Soggetto’ in Monteleone, Mediterraneo (Milan: Baldini and Castoldi, 1992): p. 16.
Office National Hellenique des Criminels de Guerre (ONHCG), Les atrocités des quattres envahisseurs de la Grèce. Allemandes, Italiens, Bulgares, Albanais (Athens: ONHCG, 1946): pp. 79–124.
See Homi K. Bhabha, The Location of Culture (London: Routledge, 1994).
See Fernand Braudel, La Méditerranée et le monde méditeranéen à l’epoque de Philipppe II (1949; Paris: Armand Colin, 1966). Salvatores is cited from the director’s interview included in the release of the ‘new unabridged edition’ of Mediterraneo.
See Lietta Tornabuoni, La Stampa, in Merkel, ed., Gabriele Salvatores (Rome: Dino Audino, 1993): p. 48.
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© 2007 Saverio Giovacchini
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Giovacchini, S. (2007). Soccer with the Dead: Mediterraneo, the Legacy of Neorealismo, and the Myth of Italiani Brava Gente. In: Paris, M. (eds) Repicturing the Second World War. Palgrave Macmillan, London. https://doi.org/10.1057/9780230592582_5
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DOI: https://doi.org/10.1057/9780230592582_5
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