Anti-gypsyism, intergenerational conflict, and intersectional dilemmas in the films of Laura Halilovic
Bibliographic Data
| ID | 2179644 |
|---|---|
| Authors | Áine O’healy |
| Year | 2022 |
| Volume | 58 |
| Issue | 5 |
| Pages | 698-712 |
| Publication date | 2022-09-03 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Journal of Postcolonial Writing (JOURNAL) |
| Journal identifiers | ISSN: 1744-9855 • E-ISSN: 1744-9863 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/17449855.2022.2160269 |
| OpenAlex | W4313367064 |
| Language | EN |
| References cited | 5 |
As the daughter of immigrants, a member of Italy’s most maligned ethnic minority, and raised in a strict patriarchal culture, film-maker Laura Halilovic provides a distinctive perspective on the stigmatization of Romanies in Italy and demonstrates a complex understanding of her own position within her tradition-bound community. This article analyses the tensions that emerge in the configuration of the central female figure in her 2009 documentary Lo, la mia famiglia rom e Woody Allen (Me, My Romani Family and Woody Allen), and autobiographically inspired 2014 feature film Lo rom romantica (Me, A Romantic Romani Woman). Whereas the documentary can be read as a personal expression of political protest, the feature film is less explicitly confrontational. Constructing an intimate portrait of a social group that is racialized and ostracized by the dominant population, both films explore dilemmas that cut across issues of ethnicity, citizenship, gender, and generation
Art · Art history · Citizenship · Ethnic group · Perspective (graphical · Political science · Politics · Population · Portrait · Psychoanalysis · Romance · Sociology · Visual arts · Anthropology · Italian Fascism and Post-war Society · Psychology · Romani and Gypsy Studies · Demography · Gender Studies · History · Law
| Citation velocity | historical |
|---|---|
| Highly cited | No |