Fragmente of memory : mainstream representation and Italian Canadian film and video

Název: Fragmente of memory : mainstream representation and Italian Canadian film and video
Zdrojový dokument: The Central European journal of Canadian studies. 2003, roč. 3, č. [1], s. [43]-55
  • ISSN
    1213-7715 (print)
    2336-4556 (online)
Type: Článek
Licence: Neurčená licence
While the mass media continues to disseminate one-dimensional stereotypical renditions of Italian culture, the actual "work of the imagination" (Appadurai 4) is taking place in the margins of these sites. Here action and agency, framed against the mass media, develops ethnic minority representation as a rich complexity of images and stories. Because Canadian film and video makers who use their immigrant and "ethnic" experience in their work, will often find it being judged as culturally "poor" and of "no value", it is important that the label of "ethnic" be deconstructed. Meanings are never fixed or immutable (Tator 8). William Boelhower's investigation of ethnic semiosis that he applied to American ethnic literatuře and Italian Canadian poetry can therefore also be applied to the works ofsome Italian Canadian filmmakers. For this paper I transpose Boelhower's theories on the Italian Canadian poetry in Pier Giorgio Di Cicco's Roman Candles (Di Cicco 1978; Boelhower 1992: 229-244) to the two Italian Canadian films being discussed here: Sara Angelucci's video America il Paradiso (1997) and Patricia Fogliato and David Mortin's film The Good Life (1991).
Pendant que les médias continuent à disséminer des interprétations stéréotypées un-à dimensions de culture Italienne, le véritable "le travail de l'imagination" (Appadurai 4) a lieu dans les marges de ces sites. Ici l'action et l'agence, encadrées contre les médias, développent la représentation de minorité ethnique comme une complexité riche d'images et d'histoires. Parce que le film Canadien et fabricants video qui utilisent leur immigrant et leur expérience "ethnique" dans leur travail, souvent trouvera il étant jugé comme culturellement "pauvre" et de "aucune valeur," c 'est important que l'étiquette de "ethnique" ait détruit. Les moyens ne sont jamais réparés ou immuable. (Tator 8). L'investigation de William Boelhower de semiosis ethnique qu'il est appliqué à la littérature ethnique Américaine et la poésie Canadienne Italienne et, aussi peut être appliquée par conséquent aux travaux de quelques cinéastes Canadiens Italiens. Pour ce papier que je transpose les théories de Boelhower sur la poesie Canadienne Italienne dans les Bougies Romaines de Pier Giorgio Di Cicco (Di Cicco 1978; Boelhower 1992: 229-244), aux deux films Canadiens Italiens étant ici diseuté: le vidéo de Sara Angelucci Amérique il Paradiso (1997) et le film de Patricia Fogliato et David Mortin La Bonne Vie (1991).
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