#FuoriPosto: l’Intervista ad Andrea Francardo

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Questa è la terza delle quattro interviste del progetto seriale #FuoriPosto che ospitiamo sul nostro sito, scritte e condotte da Floriana Manciagli. In questa occasione le fotografie sono state scattate da due fotografi, Francesco Cavagnino e Pietro Olivetta.

Ambientazione: studio fotografico
Colonna sonora: Bad news, Johnny Cash

La protagonista di #FuoriPosto oggi è Andrea Francardo.

La prima volta che ho conosciuto Andrea eravamo in un locale che si affaccia sul fiume Po, dentro al Parco del Valentino.
Aveva una giacca nera in broccato con dei bottoni dorati, il rossetto rosso e un sorriso sicuro.
Abbiamo iniziato a parlare del mondo della moda e, mentre io me ne lamentavo a lei brillavano gli occhi.
Ne sono rimasta affascinata.

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LEILA ALAOUI: PHOTOGRAPHER, WOMAN, FIGHTER

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It was January 15, 2016, when we heard the news.

I had recently returned from a long trip to Brazil, and had reunited with my family in our hometown of Turin, Italy, to begin the new year together. On January 7, my sister returned to Washington, DC, with my father, so he could help with our new born nephew, whilst my brother-in-law, on that same day, took off for an assignment with Save the Children. Destination: Ouagadougou, the capital of Burkina Faso.

A week later, gunmen armed with heavy weapons attacked the Cappuccino restaurant and the Splendid Hotel in the heart of the city. The number of fatalities reached 30. As the news spread, we learned that my brother-in-law had escaped the attack unharmed, in spite of having been in the vicinities of the locations attacked (most frequented by foreigners and NGO workers.)

Fast-forward two months later, a friend and colleague takes me to visit Virginia Branson’s (the Virgin founder Richard’s sister) superb riad in the centre of the Marrakech Medina: El Fenn. She’s a guest there, as she’s writing the new Wallapaper guide to the Moroccan city.

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PORNOGRAPHY, MEDIA VIOLENCE AND CENSORSHIP

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‘THE LIBERAL VIEW OF CENSORSHIP PROVIDES CONTEMPORARY PRODUCERS OF FILM AND TELEVISION THE LICENCE THEY NEED, TO INCORPORATE PORNOGRAPHIES. THESE INCLUDE THE GRAPHIC DEPICTIONS OF SEX ITSELF, BUT EXTENDS TO COVER SEXUAL ABUSE, PHYSICAL VIOLENCE AND TORTURE. THESE SEQUENCES ARE FREQUENTLY ENACTED TOWARDS THOSE WHO ARE OTHERWISE TRADITIONALLY MARGINALIZED’.

The Durango-95 purred away real horror show – a nice, warm vibraty feeling all through your guttiwuts. Soon, it was trees and dark, my brothers, with real country dark. We filled around for a while with other travellers of the night, playing hogs of the road. Then we headed west, what we were after now was the old surprise visit. That was a real kick and good for laughs and lashings of the old ultra violence.
Alex (voice-over) – A Clockwork Orange, 1971

My being raped moved something in me so deeply that I could no longer look at it: I’d had a fear of men all of my life. [America woman]
Women Viewing Violence, p. 15

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MUSTAFA SABBAGH: REAL BEAUTY HURTS

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I think we liked each other’s work. That’s how it all started. Then a mutual friend went to do a do session with him. Mustafa and I got in touch, and we talked for hours, about everything but photography or reporting. We promised we’d meet, because he wanted to take some shots of me. I heard in his voice warmth and attraction, values certainly dear to me. In the end it took us 3 years before we met. My job takes me to trust rarely to have photographs taken by someone who can distort my persona. Putting art, skin, imperfection that actually makes a human perfect.

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COMMODIFYING REBELLION: PUNK AND MEDIA DIALECTICS

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Commodifying Rebellion: Thirty Years of Punk and Media Dialectics.

ABSTRACT

Commodifying Rebellion: Thirty Years of Punk and Media Dialectics is a system engineered to spawn critical views on an intellectualised history of contemporary youth rebellion and its commodification. The focus of my research is the dialectics between the ‘rebellious’ signifying practices of the youth subcultural movement of punk, mainly in Britain, but also in the USA, from its official inception in 1976 to the present, and the workings of the media machine, with an emphasis on advertising and branding. This is not a musical study. It is an attempt to investigate the formation of modern youth identity.
The research is based on a number of primary and secondary sources, cultural studies and media theory, interviews with punk producers, fanzines and lifestyle and culture publications.

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INTERVIEW WITH JORGE PRIEBKE

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I sat down with Jorge Priebke for an exclusive 1-to-1 interview at the home he shared with his notorious father, Erich Priebke, in Bariloche, Argentina. Jorge, one of two children, never gives interviews to reporters, mainly because it was precisely a reporter that started the process which eventually led his father to life house arrest in Rome. Precisely, in 1994, 50 years after the Ardeatine massacre, where 335 Italians lost their lives in retaliation for the killing of 10 German soldiers, Erich Priebke felt he could talk about the incident he would later be convicted for and agreed to being interviewed by American ABC news reporter Sam Donaldson. It was the beginning of the end.

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