Abstract

This paper introduces the context of European mobilizations for and against refugees and how participatory cinema has become a way of expressing political solidarity with refugees in Italy. We present and discuss ten years of the artistic work of ZaLab and Archivio Memorie Migranti and focus on two film projects of 4CaniperStrada. Central to the production of participatory cinema in Italy is challenging the mainstream narrative of migration through the proactive involvement of asylum seekers, with their political subjectivity, by using a self-narrative method.

Highlights

  • As Della Porta underlines in her book on European mobilizations for and against refugees’

  • In Italy, which is at the frontline of the long “refugee crisis”, solidarity activists have enacted a variety of direct social actions and different forms of protest

  • This article explores how participatory documentary cinema has become a way of reacting to racism against migrants and of expressing political solidarity with refugees in Italy

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Summary

Introduction

As Della Porta underlines in her book on European mobilizations for and against refugees’. Like other citizens of foreign origin, Bizzarri suffered widespread racism and it was his indignation at the expulsion of the children of seasonal workers which turned him to film His cinematographic accounts aimed to make migrants take consciousness of their condition and to trigger self-organization and solidarity (above all class solidarity). This article explores how participatory documentary cinema has become a way of reacting to racism against migrants and of expressing political solidarity with refugees in Italy. Unlike Italian directors of previous generations, Segre and other participatory documentarists working on migrations in Italy are more aware of the limits that their gaze may have on the vicissitudes of others They seek a more symmetrical relationship with migrants/refugees and they are probably facilitated by their greater familiarity and daily acquaintances with people of foreign backgrounds We will discuss the importance of the process of film-making and the politics of “civil distribution” in this particular way of enacting political solidarity with refugees in Italy

Ten Years of Participatory Cinema with ZaLab and Archive of Migrant Memories
20. The with other agreements “to stopmigrations”
October
Conclusions

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