Titlebook: Basilicata and Southern Italy Between Film and Ecology; Alberto Baracco,Manuela Gieri Book 2022 The Editor(s) (if applicable) and The Auth

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Exordiumountry road in the middle of an exceptionally dark night, which convinced us to park in the first apparently safe place we found, spend the night in the car, and then wake up the next day, astonished to find ourselves overlooking the Lago di San Giuliano, a small lake just outside of Matera.

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: Luchino Visconti’s Lucania Between Real and Imaginaryething more: the claims and the two contradictory aspects of Southern Italy (i.e., tradition and modernity) come into play, also reconnecting with Rocco Scotellaro’s poetry and ideas. Visconti’s film expresses the image of Lucania through Rosaria, the mother figure, in whom the children’s bond with

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Meridian Landscape and Documentary Image: Luigi Di Gianni ’s Short Moviesthe magical-religious themes dear to the author are subordinated to the absence of formal research and greater attention given to everyday life. These aspects make the short films more similar to reportage, returning an image of the Southern landscape no longer as a distant place suspended in anothe

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Isabella di Morra’s “Valle Inferna” Between Myth and Reality. About the Movie e film adaptation, the setting becomes one with the characters. The result is a dialectical relationship between territory, literature, and cinema, in which the places of the . take on almost rehabilitative characterizations with respect to the scenario that rhymes had given. In light of the initiat

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, therefore, its history and its territories, communities, and identities. Furthermore, in an even more general sense, Basilicata and Southern Italy reconnects with the very idea of the South, and of all Souths978-3-031-13575-0978-3-031-13573-6

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Universities in Northern Finland,backward population—and, therefore, a prime region to relegate to the status of colony of a supposedly more advanced North. Thus, Gramsci and Cassano offer points of approach to the . to initiate actions toward emphasizing “the dignity of a different way of life” (Cassano 2012, 2).

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Ingi Runar Edvardsson,Thorsteinn Gunnarssonory of a longer voyage through Southern Italy, from Sicily to Rome. These two films are examples of itinerant cinema, as they focus their energies on long journeys that unfold on foot. In the process of walking across stretches of Italy, the films’ protagonists (and, ultimately, the films themselves