engineer a “forgetting” of traumas that they o
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
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.
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
Meeuf, R. 2006. “Collateral Damage Terrorism, Melodrama and the Action Film on
the Eve of 9/11.” Jump Cut 48 (4). https://www.ejumpcut.org/archive/jc48.2006/
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
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