Sardinia on Screen

• AcknowledgementsIntroductionImagology: Theory and MethodsTropes, Images and ExoticismNational Characters: Origins and DevelopmentSardinian CharacterNational Characters from Literature to CinemaDescription of the CorpusStructure of the Book1. Sardinian Tropes in Literature before 1900Sardinia in European Literature before 1900Tropes of LandPeopleWomenCharacterConclusion2. Sardinian Tropes in Literature after 1900Sardinia in European Literature after 1900Tropes of LandPeopleWomenCharacterConclusion3. Sardinian Tropes on ScreenThe ‘Ethnographic Spectacle’Sardinian LandscapeNorth versus SouthSardinia as a Symbol of the SouthMountains and LandscapeSocial-political MarginalityExoticism and WildernessSea and Tourism: Coast as InterfaceCities and Post-modernityConclusion4. Sardinian Characters on ScreenPhysical Appearance and National CharacterShepherds and BanditsHonour and Shame: The ‘Vendetta Barbaricina’Shepherds versus Town-dwellers and FarmersThe Sardinian WomanThe ‘New’ Sardinian PeopleConclusion5. Sardinian Identity on ScreenThe Festivity as an Icon of Sardinian IdentityNational CostumePrehistory as a Topos of Sardinian IdentityItalian and Sardinian on ScreenConclusion6. CasesLa grazia (Aldo De Benedetti, 1929)Sequestro di persona (Gianfranco Mingozzi, 1968)Scarabea (Hans Jürgen Syberberg, 1969)Il disertore (Giuliana Berlinguer, 1983)Pesi leggeri (Enrico Pau, 2001)L’ultima frontiera (Franco Bernini, 2006)Post Scriptum: Bellas mariposas (Salvatore Mereu, 2012)ConclusionAppendix: Brief Summary of Sardinian HistoryBibliographyFilmographyIndex of NamesIndex of Films

“this work will certainly be a keystone in the study of Sardinian identity and culture. Bonaria Urban’s book is a text with which scholars of these subjects will have to engage, and which will be important also for those studying the representation of the south of Italy in general. Given its structure and length, it can also be used as a sort of catalogue, allowing the reader to jump from section to section and focus mainly on what s/he is interested in.” - Luca Peretti, Yale University, in: Modern Language Review, 111.3 (2016), pp. 880-882“It is, however, admirably researched, clearly written and, I believe, instrumental in providing an overview of regional representations, and of literary and visual texts which have often been marginalized within Italian Studies.” - Giorgia Alù, University of Sidney, in: Incontri , vol. 29 (2014)