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Piero Garofalo, Elizabeth Leake and Dana Renga

engineer a “forgetting” of traumas that they o ­ riginally inflicted on victims’, a question of particular interest to the case of internal exile during Fascism with regard to recent discussions of exile as va­cation.9 Ultimately, however, remnants of the trauma-​inducing event return in the guise of symptoms, and Kaplan looks towards the cinema, with a particular eye on melodrama, to investigate ways in which a culture ‘can unconsciously address its traumatic hauntings’.10 Most of the films in the corpus of Italian cinematic works dealing with internal exile, we argue

in Internal exile in Fascist Italy
Place, space and discourse
Editors: Christine Agius and Dean Keep

Identity is often regarded as something that is possessed by individuals, states, and other agents. In this edited collection, identity is explored across a range of approaches and under-explored case studies with a view to making visible its fractured, contingent, and dynamic features. The book brings together themes of belonging and exclusion, identity formation and fragmentation. It also examines how identity functions in discourse, and the effects it produces, both materially and in ideational terms. Taking in case studies from Asia-Pacific, Europe, the Middle East and Latin America, the various chapters interrogate identity through formal governing mechanisms, popular culture and place. These studies demonstrate the complex and fluid nature of identity and identity practices, as well as implications for theorising identity.

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Piero Garofalo, Elizabeth Leake and Dana Renga

nonconforming people, and of those deemed by the Regime to be ­politically? suspect. Melodrama, trauma, mourning, memory, and the exile-​ as-​holiday motif are recurring elements in these films, which frequently critique both political systems and gender policies. While the feature films tend to adopt melodrama as the preferred means of expression, the documentaries project private memories that engage with and become part of the collective memory. A final motivation for this study is the continued presence of confino-​like practices in societies. Confinement’s legacy is

in Internal exile in Fascist Italy
Narrative identity and Homeland
Louise Pears

Publishing Co. Meeuf, R. 2006. “Collateral Damage Terrorism, Melodrama and the Action Film on the Eve of 9/11.” Jump Cut 48 (4). CollatDamage/text.html. Morey, P. 2010. “Terrorvision.” Interventions 12 (2): 251–64. Morley, D. 1989. “Changing Perspectives in Audience Studies.” In Remote Control: Television, Audiences and Cultural Power, edited by E. Seiter, H. Borchers, G. Kreutzner and E. M. Wath, 16–43. London: Routledge. Mulvey, L. 1975. “Visual Pleasure and Narrative Cinema.” Screen 16 (3): 6–18. Neumann, I. B. 1999. Uses of

in The politics of identity
Piero Garofalo, Elizabeth Leake and Dana Renga

regular nostalgic returns to the islands this and the other texts under consideration in this chapter disclose a ‘stubborn lingering of pastness’ that is ‘a hallmark of queer affect: … as a turning back’.58 Towards the end of the documentary, the narrator challenges the trope of internal exile as vacation when he states that detainees could never have imagined that one day tourists would visit San Domino.Thus, unlike with the melodramas discussed in the previous chapter, this documentary is not heartening, and instead underlines that memory is complex. In conclusion, we

in Internal exile in Fascist Italy