This essay offers a brief reflection on the history of Sardinian cinema and its modes of representation. Analysing the two periods before and after the 1990s, the essay proposes an analytical framework for the representation of Sardinia and its culture at the cinema, articulated between hetero‐representation and self‐representation. This dual organisation stresses the role of cinema as an instrument of cultural inscription in the relationship between the local self and the foreign other, and finally highlights the changes occurred in new Sardinian cinema with the intervention of local directors.
The Sardinia case: issues of identity in the cinematic representation of an island
Antioco Floris
2016-01-01
Abstract
This essay offers a brief reflection on the history of Sardinian cinema and its modes of representation. Analysing the two periods before and after the 1990s, the essay proposes an analytical framework for the representation of Sardinia and its culture at the cinema, articulated between hetero‐representation and self‐representation. This dual organisation stresses the role of cinema as an instrument of cultural inscription in the relationship between the local self and the foreign other, and finally highlights the changes occurred in new Sardinian cinema with the intervention of local directors.
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