What are the discursive practices and the stereotypes mostly applied and conveyed by Italian cinema in the narration of the North-South dualism? And which are the genres that better portray this cultural and social divide? 21st century Italian cinema has produced several emblematic films that show the architecture of such a complex contrast between the two geographical poles, playing with the traditionally most established clichés – economically developed North vs. underdeveloped South; global North vs. local South – and amplifying the discrepancies even further. The representation of places (northern cities and industrial areas vs. southern villages, countryside and seascapes), the use of dialects and regional varieties of Italian that clearly define the origins of actors/characters and the characterization of the individuals by means of cultural and behavioural stereotypes are some of the most prominent elements that allow us to analyse the North-South relation portrayed in the films produced over the last fifteen years (since 2006). As I am particularly interested in observing how the linguistic choices – reflected on titles, anthroponyms, toponyms, languages spoken – and other identity-related topics shape the construction of the North-South divide, I will adopt a “lexical” methodology (based on De Gaetano 2014-15) which will highlight the most remarkable features exhibited by nearly all the titles of the corpus: displacement, evaporation, food, genre/gender, landscape, language, love, religion.

A Milano ce sta' 'a nebbia. La costruzione del divario Nord-Sud nel cinema italiano contemporaneo

Myriam Mereu
Primo
2021

Abstract

What are the discursive practices and the stereotypes mostly applied and conveyed by Italian cinema in the narration of the North-South dualism? And which are the genres that better portray this cultural and social divide? 21st century Italian cinema has produced several emblematic films that show the architecture of such a complex contrast between the two geographical poles, playing with the traditionally most established clichés – economically developed North vs. underdeveloped South; global North vs. local South – and amplifying the discrepancies even further. The representation of places (northern cities and industrial areas vs. southern villages, countryside and seascapes), the use of dialects and regional varieties of Italian that clearly define the origins of actors/characters and the characterization of the individuals by means of cultural and behavioural stereotypes are some of the most prominent elements that allow us to analyse the North-South relation portrayed in the films produced over the last fifteen years (since 2006). As I am particularly interested in observing how the linguistic choices – reflected on titles, anthroponyms, toponyms, languages spoken – and other identity-related topics shape the construction of the North-South divide, I will adopt a “lexical” methodology (based on De Gaetano 2014-15) which will highlight the most remarkable features exhibited by nearly all the titles of the corpus: displacement, evaporation, food, genre/gender, landscape, language, love, religion.
978-88-7667-915-5
Divario Nord-Sud; Cinema italiano contemporaneo; Commedia; Lingua italiana
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11584/342613
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