| Abstrakt: |
The 1960 Italian film Rocco and His Brothers (Rocco e i suoi Fratelli) is one of the greatest exemplars of Italian post-war cinema. The film depicts the disintegration and deterritorialization of an immigrant family from Lucania, a southern Italian village in Basilicata, and their relocation to Milan. The director of the film, Luchino Visconti, continuously alludes to the protagonist's fascination with their hometown (paese). This nostalgic and wholesome image of paese contrasts the ubiquitous alienation and exploitation in the industrial North. The film is replete with signs and metaphors which explicitly and implicitly reinforce the evident tension between the immigrant family and an industrialized metropolis. Based on an interview with Mario Licari, Visconti's assistant who accompanied him on location visits, this article offers an opportunity to revisit significant locations of the film such as Quartiere Fabio Filzi, the Alfa Romeo Factory, Milan Duomo, Ponte Della Ghisolfa, Parco Sempione, Stazione Centrale and Circolo Arci Bellezza. Underpinned by the theories of Giorgio Agamben, Antonio Gramsci and Andre Bazin this essay creates a theoretical framework that works in parallel with a detailed analysis of the scenes, original archival material, dialogues, places, and history of architecture of the locations. The article demonstrates how urban and architectural spaces not only accommodated the narrative of the film but shaped, twisted and structured the story of the masterpiece. The paper shows how Visconti succeeded in visualizing a 'hidden' Milan that was never appeared on the silver screen before Rocco and His Brothers. [ABSTRACT FROM AUTHOR] |
