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{
    "pk": 40714,
    "title": "Rhino / Rhinoceros: Experimental Cinema and the Migrant Condition",
    "subtitle": null,
    "abstract": "This essay examines two films by Kevin Jerome Everson: \nRhinoceros \n(2013) and \nRhino \n(2017). \nRhinoceros \nis an imagined staging of the last speech of the first Duke of Florence, Alessandro de’ Medici (1510-1537), also known as the first black European head of state due to his mixed Italian and African ancestry. For de’ Medici’s speech, \nRhinoceros\n uses one of the last communiqués of Mummar al-Gaddafi, then recently deposed as head of the Libyan state by the Arab Spring. Once staunchly anti-imperialist, Gaddafi’s last years were marked by new political and economic relations with Western nations, notably the 2008 “friendship treaty” orchestrated with then Prime Minister Silvio Berlusconi. By having de’ Medici speak the words of one of the most polarizing African leaders of the last forty years, \nRhinoceros \nmerges the politics of early modern Italy with the country’s colonial legacies in north and east Africa. \nRhino\n imagines the final days leading up to Duke Alessandro’s 1537 assassination, with de’ Medici’s narrative told alongside interviews with African migrants in present-day Florence. In \nRhino, \nthe historic presence of Africans within the Italian peninsula is paralleled to contemporary African migration to Italy. I argue \nRhinoceros \nand \nRhino\n not only reveal the ironies of postcolonial Italy at the beginning of the 21st century, but also participates in the construction of the archive of Black Italy.",
    "language": "en",
    "license": {
        "name": "Creative Commons Attribution-NonCommercial  4.0",
        "short_name": "CC BY-NC 4.0",
        "text": "Attribution — You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use.\n\nNonCommercial — You may not use the material for commercial purposes.\n\nNo additional restrictions — You may not apply legal terms or technological measures that legally restrict others from doing anything the license permits.",
        "url": "https://creativecommons.org/licenses/by-nc/4.0"
    },
    "keywords": [
        {
            "word": "Alessandro de’ Medici"
        },
        {
            "word": "Early Modern Italy"
        },
        {
            "word": "Florence"
        },
        {
            "word": "Kevin Jerome Everson"
        },
        {
            "word": "Experimental Film"
        },
        {
            "word": "African American Studies"
        },
        {
            "word": "Afro-Surrealism"
        },
        {
            "word": "Italian Colonialism"
        },
        {
            "word": "Libya"
        },
        {
            "word": "post-colonialism"
        }
    ],
    "section": "Italian Culture: Transnational Perspectives",
    "is_remote": true,
    "remote_url": "https://escholarship.org/uc/item/5628t5vx",
    "frozenauthors": [
        {
            "first_name": "Shelleen",
            "middle_name": "",
            "last_name": "Greene",
            "name_suffix": "",
            "institution": "UCLA",
            "department": "None"
        }
    ],
    "date_submitted": "2018-02-21T23:32:19Z",
    "date_accepted": "2018-02-21T23:32:19Z",
    "date_published": "2019-02-13T20:05:43Z",
    "render_galley": null,
    "galleys": [
        {
            "label": "",
            "type": "pdf",
            "path": "https://journalpub.escholarship.org/cisj/article/40714/galley/30533/download/"
        }
    ]
}