The establishment of Island Studies within the academe and the introduction of concepts such as ‘islandness’ and ‘islandscape’ have accompanied a general rethinking of the concept of insularity which encompasses the reflection over a cinematic representation of islands and islanders. The use of islands as cinematic landscapes and settings has reinforced cultural, mythical, and identity stereotypes associated with the island imagery built-up in literature, as well as the construction of the islander as a character exhibiting specific behavioural features. The film Cainà. L’isola e il continente (Gennaro Righelli, 1922) is emblematic insofar as it is the first feature film shot in Sardinia and its character is not just a symbol of feminine rebellion against a patriarchal society, but it also serves as an allegory of an unspoiled island, such as it was considered and depicted at that time. As islanders ourselves, we have wondered to what extent Cainà adheres to the stereotypes of islandness and insularity conventionally ascribed to islands and, in this specific case, to Sardinia. Our paper aims to examine the genesis of the Sardinian insular imagination through the lens of the cinematic construction of ‘islanderness’ and ‘islanderscope’, an assortment of agency representing islanders — and islands — on screen.

Cainà: Islandscape and ‘islanderscope’ on screen

Mereu, Myriam
;
Gavelli, Daniele
2021

Abstract

The establishment of Island Studies within the academe and the introduction of concepts such as ‘islandness’ and ‘islandscape’ have accompanied a general rethinking of the concept of insularity which encompasses the reflection over a cinematic representation of islands and islanders. The use of islands as cinematic landscapes and settings has reinforced cultural, mythical, and identity stereotypes associated with the island imagery built-up in literature, as well as the construction of the islander as a character exhibiting specific behavioural features. The film Cainà. L’isola e il continente (Gennaro Righelli, 1922) is emblematic insofar as it is the first feature film shot in Sardinia and its character is not just a symbol of feminine rebellion against a patriarchal society, but it also serves as an allegory of an unspoiled island, such as it was considered and depicted at that time. As islanders ourselves, we have wondered to what extent Cainà adheres to the stereotypes of islandness and insularity conventionally ascribed to islands and, in this specific case, to Sardinia. Our paper aims to examine the genesis of the Sardinian insular imagination through the lens of the cinematic construction of ‘islanderness’ and ‘islanderscope’, an assortment of agency representing islanders — and islands — on screen.
Sardinia; Cainà; cinematic landscape; islandness; islanderscope
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11584/342612
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