This article investigates the role, reception, and socio-cultural, political relevance ofmondomovies in the context of late 1950s–early 1980s film and documentary. Themondogenre debuted with reportage films about sexuality in Europe and reached its pinnacle with Gualtiero Jacopetti’s assemblage films. The historical context in which this genre evolved, and white masculinity was rearticulated and positioned at the centre of the national imagined community, is mapped focusing both on gender and race constructions and on thegazeidentifying, encoding and decoding the sensationalist presentation of postcolonial/ decolonising Otherness. A brief review of some of the author’s published work on 1962–1971mondomovies introducesCannibal Holocaust(1979) and director Ruggero Deodato’s controversial reflection on the white, capitalist, sexist, Western and neo-colonial anthropological gaze.

中文翻译：

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Razza cagna：mondomovies、白人异性恋男性凝视和 1960 年代至 1970 年代对国家的想象

这篇文章调查了该组织的作用、接受度以及社会文化、政治相关性。蒙多1950 年代后期的电影——1980 年代初期的电影和纪录片。这蒙多流派以关于欧洲性的报道电影首次亮相，并在 Gualtiero Jacopetti 的组合电影中达到顶峰。这一体裁演变的历史背景，白人男子气概被重新表述并定位于国家想象社区的中心，既关注性别和种族结构，也关注注视识别、编码和解码后殖民/非殖民化他者的耸人听闻的表现。简要回顾作者在 1962-1971 年发表的一些作品蒙多电影介绍食人族大屠杀(1979) 和导演 Ruggero Deodato 对白人、资本主义、性别歧视、西方和新殖民主义人类学凝视的有争议的反思。