By Barbara Alfano

The Mirage of the USA in modern Italian Literature and Film explores using photographs linked to the U.S. in Italian novels and movies published among the Nineteen Eighties and the 2000s. during this research, Barbara Alfano seems on the ways that the members portrayed in those works – and the intellectuals who created them – confront the cultural build of the yank delusion. As Alfano demonstrates, this fantasy is an essential component of Italians’ discourse to outline themselves culturally – in essence, Italian intellectuals discuss the United States frequently for the aim of conversing approximately Italy.

The publication attracts awareness to the significance of Italian literature and picture as explorations of an individual’s ethics, and to how those productions permit for functioning throughout cultures. It therefore differentiates itself from different stories at the topic that objective at constructing the relevance and impact of yank tradition on Italian twentieth-century creative representations.

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We shall have many chances to see how Moretti, Lagorio, Duranti, Amelio, Baricco, and Benigni are keenly aware of their leading function as intellectuals, and strongly feel this responsibility as individuals, not belonging necessarily to any political lobby. 22 The Mirage of America in Contemporary Italian Literature and Film The Communist Party became a strong pole of attraction for intellectuals after Fascism, but “the question of the leadership between culture and politics […] remained open” (Ward 89).

7 This was the political and social climate, past and present, in which and against which Nanni Moretti, as well as Gianni Amelio, created their “cinema of resistance,” as Gieri likes to call it (“Landscapes” 52). In L’unico paese al mondo (The Only Country in the World, 1994), a collection of nine short films that nine “young” Italian directors prepared against Berlusconi’s candidacy for the political elections of 1994, we see Moretti on his Vespa again, as in Caro diario, still wearing his white helmet.

The French historian asked. Martina seeks a pragmatic answer, and she intends her labour on herself as an experiment in the abatement of identity and for the sake of tolerance. Call me Robinson. 26 For this reason, my mind comes to rest on Ishmael’s young Platonist, who goes aboard a whaler with the Phaedon, rather than Bowditch,27 in his head, and once on the main mast, “lulled into 46 The Mirage of America in Contemporary Italian Literature and Film such an opium-like listlessness of vacant, unconscious reverie is this absent-minded youth by the blending cadence of waves with thoughts, that at last he loses his identity […] in this enchanted mood thy spirit ebbs away to whence it came; becomes diffused through time and space […]” (Moby-Dick 256–7).

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