#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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TERRORISMO E DISOCCUPAZIONE

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È il momento del dolore, ma permettetemi un’osservazione.

In queste occasioni i politici tendono ad enfatizzare il classico “loro” contro di “noi”, con le solite frasi di rito del tipo “Loro ci vogliono togliere la libertà”. Lo si sente ogni volta che tragici fatti come quelli di oggi accadono. Vero – un rischio di riduzione di alcune libertà ci sarebbe se, ad esempio, venissero introdotte restrizioni per prevenire attacchi terroristitici molto drastiche, come il chiudere le frontiere interne, quindi meno libertà (o facilità) di movimento, di andare a scuola, di farsi curare. Molto più difficile togliere la libertà di pensiero (l’unico modo di fare questo è uccidere una persona, si pensi, banalmente, a Socrate), e, ormai, di espressione (parlando di Occidente).

Allora, i giornalisti chiedono: come si possono sconfiggere questi terroristi?

Sappiamo che molti di questi terroristi responsabili di attacchi in Europa erano/sono europei. L’asse terroristico Parigi-Bruxelles è formato da giovani cresciuti nei quartieri più poveri delle due città, quelli che ti offrono meno possibilità di ottenere una buona istruzione, o un lavoro.

Nella zona euro, che comprende attualmente 19 Paesi, si è registrato nel 2014 un tasso di disoccupazione pari all’11,4%.

Ovvero 38,76 milioni di disoccupati su 340 milioni di abitanti.

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DON’T ASK ME WHERE I’M FROM

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The hardest question for me to answer when I meet someone is: where are you from. Truly. I was born in Heidelberg, Germany, and grew up in Turin, Italy. I spent my 20s in London, UK, where I graduated and began my professional journey, to then work and live in several other countries. I have Italian origins, but my biological family now lives between the USA and Greece. Some call me Italian. Some English or German. Some others yet, multinational, or a global citizen.

Naturally, I was very intrigued when I recently watched a TED speech by Taiye Selasi (a writer and photographer), as she analyzes exactly that sentiment when it comes to defining origins: countries are not absolute, they are a concept – they appear and disappear.

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WHY SO MANY FOOD PROGRAMS?

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THE CULTURAL MEANINGS OF FOOD AND EATING CONVENTIONS ANALYZED THROUGH ANTHROPOLOGICAL CONCEPTIONS OF CULTURE.

1) Following R. Benedict’s definition of anthropology as “the study of human beings as creatures of society. It fastens its attention upon those physical characteristics and industrial techniques, those conventions and values, which distinguish one community from all others that belong to a different tradition”, in these notes I will try to analyse the conventions of food and eating. I find the topic most interesting, in that it asks to discuss a matter that offers a number of insights into human societies, and its symbols and meanings. Food is everywhere… food, and the way, and the reason why, too, we eat certain foods, in certain contexts.

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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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BRAZIL’S DESIRES AND FEARS

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“Cinema Novo put Brazil’s face on the screen. It exposed our contradictions, our desires, our fears, and our convulsive energy.”
Walter Salles

Throughout this essay I shall aim to consider the relation between Glauber Rocha’s Black God White Devil (1964) and the ‘movement’ he was part of, and one of the main theorists, Cinema Novo.

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PASOLINI: REALITY PRECISELY AS IT IS

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NEOREALISM WAS THE KEY INFLUENCE IN POST-WAR ITALIAN CINEMA. ITS STATED AIM WAS TO BRING AUDIENCES TO ‘THINK ABOUT REALITY PRECISELY AS IT IS’ (ZAVATTINI).

I was twenty, not even – eighteen,
nineteen… and I had been alive for a century,
a whole lifetime
consumed by the pain of the fact
that I would never be able to give my love
if not to my hand, or to the grass of ditches
or maybe to the earth of an unguarded tomb…
Twenty and, with its human history and its cycle
of poetry, a life had ended.
(from Pier Paolo Pasolini, A Desperate Vitality)

On the one hand, without a doubt neorealism was the key influence in post-war Italian cinema.

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WHAT DOES IT MEAN TO BE “MODERN”?

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“Walls and spheres and immobility! For two thousand years people have believed that the sun and all the stars of heaven rotate around mankind. Pope, cardinals, princes, professors, captains, merchants, fishwives and schoolkids thought they were sitting motionless inside this crystal sphere. But now we are breaking out of it, Andrea, at full speed. Because the old days are over and this is a new time. For the last hundred years mankind has seemed to be expecting something. Our cities are cramped, and so are men’s minds. Superstition and the plague” (B. Brecht, Life of Galileo).

“Imagine a man, who as here has laid his ear as it were on the heart chamber of the world-will, who feels the mad desire for existence flow outwards into all the veins of the world in the form of a thundering torrent or of the gentlest spraying brook, should such a man not suddenly shatter into pieces?” (F. Nietzsche, Birth of Tragedy)

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POLITICS ISN’T WORKING? LOOK AT THE MEDIA

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AS IT IS FREQUENTLY ARGUED, ‘POLITICS ISN’T WORKING’ AND THE MEDIA HAVE CONTRIBUTED TO A ‘CRISIS IN POLITICAL COMMUNICATIONS’ CREATING AUDIENCES WHO ARE POLITICALLY CYNICAL OR APATHETIC.

“What’s going on now in journalism is what I call the Studio 54 phenomenon – pushing the envelope, seeing how far we can go before we close the place down. It seems to be an unwritten rule to see how much we can get away with as journalists. I don’t believe there is moral decay in society. And I don’t believe the Lewinsky scandal and the coverage of it indicated such decay. I think we are better off than we were in the ‘50s. And like Studio 54, I think human nature will tell us when it’s time to close down.”

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STARDOM AND AUTHENTICITY

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IN POPULAR REPRESENTATIONS OF STARDOM/ CELEBRITY, THE STAGING OF ‘REVELATIONS’ SETS UP THE PROMISE OF ESTABLISHING THE STAR’S AUTHENTICITY BEYOND THEIR PUBLIC IMAGE.’ WHY IS THE SEARCH FOR ‘THE AUTHENTIC’ CULTURALLY SIGNIFICANT?

The matter of authenticity in our so called post-modern society is of great interest, in that it cuts through a number of satellite issues: in a media saturated age, it relates to art, audience reception, democracy, accessibility to information, education, politics and so on. The point is that with the rising importance of Fourth Estate, in its dialectics with ideology, it becomes harder and harder to discern the fake from the real, the authentic from the manufactured.

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