ABSTRACT

Italy’s status as Europe’s ‘unguarded door’ in terms of arriving migrants and refugees has both altered and intensified long-standing divisions – within Italy, as well as between Italy and the rest of Europe. This paper examines the cultural reverberations of the migration crisis in two films: Con il sole negli occhi (Sun in His Eyes, 2015), and Cose dell’altro mondo (Things from Another World, 2011). In different ways, both these films reveal Italy’s anxieties about cultural re-negotiation as it responds to the migration phenomenon, and to its own inferiority complex as Europe’s internal Other. At the same time, these films highlight how the influx of refugees and migrants into Europe has forced the European Union to examine its foundational aspirations of ‘unity in diversity’ and universal equality, because migration inherently poses the problem of inside v. outside. Reading these films against the ideals of inclusion and egalitarianism suggests that the Enlightenment idea of ‘united in diversity’ that informs the European cultural project is only ethical and egalitarian if it is universal, extending from Europeans to non-Europeans as well, and that it can succeed only if it is supported economically as well as rhetorically.

摘要

就抵达的移民和难民而言，意大利作为欧洲“无人看守的大门”的地位已经改变并加剧了长期存在的分歧——意大利内部以及意大利与欧洲其他地区之间的分歧。本文考察了两部电影中移民危机的文化回响：Con il sole negli occhi（他眼中的太阳，2015 年）和Cose dell'altro mondo（《来自另一个世界的事物》，2011年）。这两部电影都以不同的方式揭示了意大利在应对移民现象时对文化重新谈判的焦虑，以及对作为欧洲内部他者的自卑情结的担忧。与此同时，这些电影突出了难民和移民涌入欧洲如何迫使欧盟审视其“多样性中的统一”和普遍平等的基本愿望，因为移民本质上提出了内部与外部的问题。阅读这些反对包容性和平等主义理想的电影表明，启蒙运动的“多元统一”理念为欧洲文化项目提供了信息，如果它具有普遍性，那么它就是道德和平等主义的，从欧洲人延伸到非欧洲人，