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Skip to Main Content. Search in: This Journal Anywhere. Advanced search. Journal homepage. Claudia Mantovan Correspondence claudia. Pages Published online: 22 May Additional information Acknowledgments I would like to acknowledge Vincenzo Pace for his lively and useful discussions of earlier drafts of this article. Article Metrics Views. Article metrics information Disclaimer for citing articles. Please try your request again later. Are you an author? Help us improve our Author Pages by updating your bibliography and submitting a new or current image and biography.

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Previous page. Kindle Edition. Next page. Unlimited One-Day Delivery and more. There's a problem loading this menu at the moment. Books By Ulisse Di Corpo. But before then, observes Yimer at the end of the documentary, Italy and Europe have enacted strategies, erected barriers to force the immigrants to succumb to a state of flux, of silence and, in due course, of non-existence. Their narratives call the dead back to life in a process of re-membrance that involves the return of what was made liquid to a state of solidity, of what was degraded to a state of humanity, and what was silenced 40 to the possibility of agency and historicity.

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What seems to be at first glance an ordinary project, a project that developed on site, as Yimer himself revealed in an interview 43 , turns quickly into a more complex and multi layered undertaking. The main objective is to understand Lampedusa, a place that, for Yimer as for the multitude of the undocumented immigrants that landed there, had remained distant, concealed by the high walls, physical and psychological, that separated them from the island and the Lampedusani Liberti Soltanto il mare mirrors, albeit with different protagonists, the narrative of Come un uomo sulla terra.

There, Ethiopian refugees spoke of their ordeals to restore the tangibility of their suffering, the physicality of their being, here, the visit to Lampedusa is a journey of discovery, on both sides, of similar marginalities and silenced existences. Here, the protagonists are Italians but, as the Lampedusani recurrently lament in the documentary, Italians of sorts.

Their exasperation climaxes when they talk about the media, which they chastise for exaggerating and distorting the reality of the arrivals. The immigrant protagonist is also unique. This time, his trip started in Italy rather than in Africa. He travels with a name and documents to confirm it, he lands on the island as a resident, not as an illegal immigrant, as a director, not as a starved and dehydrated, unidentified body.

Most crucially, this time he has brought his video camera, the same he used in his previous documentaries. In his recently published volume A sud di Lampedusa , Stefano Liberti maps the routes that lead North African men and women, determined to find a solution to their basic economic needs, to the shores of the Mediterranean.

His trips to Senegal, Niger, Mauritania, Algeria, Morocco, Turkey, and Lampedusa, reveal the economic reality of a continent devastated by corporate greed and by the aggressive hunt for natural resources, including land, water, and oil In , Liberti concludes his travels by landing on Lampedusa, where he is shocked to find that the island had separated the two communities, islanders and immigrants, rendering them invisible to one another.

Aveva ragione Giuseppe. E poi la nave che li avrebbe portati via, sul continente. Liberti Any contact, any relation between the two groups had been deliberately prevented. Located in a remote part of the island, it contains the vessels, seemingly awaiting an improbable demolition, that transported the immigrants to the Italian shores. As in Come un uomo sulla terra , Soltanto il mare shows a predilection for extreme close up shots that give the Lampedusani center stage, allowing them to articulate their experiences, explain their bond to the sea, and assert their disparate views of the immigrants from the point of view of their own physicality, of their own body.

A regained understanding that does not hide a measure of perplexity and anger at the situation, as they begin to recognize that the inability of the state to help both communities has produced a distance and a silence that cannot be breached.

Davigo sull'immigrazione

Intensely and straightforwardly, the Lampedusan communicate their down-to-earth humanity, exemplified in their battle for survival, yesterday at sea, today against political isolation and media falsifications. The video camera solicits them to a method, to the articulation of language, engages them in a narrative. The camera has empowered the actors to become individuals, its reversed gaze aimed at giving voice and not at silencing, by re-personalizing the island and filling the void produced by misinformation, by describing situations and not disguising truths or manipulating facts.

Soltanto il mare , like Come un uomo sulla terra , is deeply rooted in solidity.


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The view from the sea appears only in the introductory scenes while for most of the narrative the gaze is firmly positioned on the land. In Come un uomo , the necessity of solidity was stressed from the start, in the title itself.

In Soltanto il mare Only the Sea , solidity is illustrated in the recurrent scene of a jogger crossing the island at different times of day. The sea is that wider horizon in Soltanto il mare as in Come un uomo sulla terra the earth was that land without borders. While abstraction gives the illusion of domination of reality in fact it distances the subject from the object, or, as in this case, from the other subject and its complexity.

This is the deleterious consequence of media oversimplified linguistic codes, of political misrepresentation of the reality. Their semantic modes geared to the separation of what is not separable. The voices of the protagonists, in both documentaries, are able to restore the unity of the body through the repossessing of its organic reality.

By recounting the stages of their suffering the protagonists recover what media narratives had rendered fragmented, disconnected, and empty. Their stories re-establish in the viewers the sense of the intolerable and simultaneously leave space to the regeneration, the re-building of a reality alternative to that promoted by the media. Truth, virtue, and organic knowledge derive from a gaze that is still able to recognize good and to pursue it.

Benedetti Lampedusa and the Mediterranean are symbols, complex and evocative, of the contemporary human condition, and at the same time provocative places from where we can start to re-imagine both Italy and Europe. There, Lampedusa emblematizes a place where marginalities meet and speak out to resist annihilation.

The Florentine’s latest media project

According to the UNHCR, around 36, boat people made it to Italian soil last year — a 75 per cent increase compared to figures. Italy took more than half of the 67, immigrants who arrived by sea in Europe last year. More and more refugees arrive in poor health. Often they have injuries or burns caused by the boat engines. For the most part they are dehydrated and suffer from heat stroke. Deaths: In the Refugee Council officially registered dead boat people on the coast of Lampedusa but the real numbers are much higher.

It is unknown how many boats sank unnoticed. Fortress Europe reports that more than Dal almeno Ne abbiamo le prove. Gatti kept a diary, later published, which revealed a series of serious violations of human rights: refugees were horribly abused and humiliated during the examination by the police.

Dossier Territoriale Immigrazione - (Italian Edition) - Import It All

Hygienic conditions in the center were catastrophic, just salt water, no doors, no toilet paper, electricity or privacy. No refugee was brought before a judge although this is required by Italian law. E come tali devono essere trattati. This change of status is reminiscent of what the island was from until Fascism, a sort of penal colony, where intercepted Libyan migrants on the way to Italy were detained until their deportation Gabriele del Grande, Il mare di mezzo , Roma: Infinito, , p.

In addition, the UN strongly discouraged the Italian government from criminalizing the refugees and from spreading fear and panic to alarm and frighten its citizens. At a time when new media tools are allowing sentiments of political dissatisfaction to spread rapidly across borders, how will this impact patterns of migration and official responses to them?

A series of documentaries and news reports follow the protagonists and track their stories. The loss of 89 lives was the result of negligence on the authorities on both sides of the Mediterranean and of the indifference of the many fishing crews that saw the boat but did not intervene.