Please use this identifier to cite or link to this item:
Appears in Collections:Communications, Media and Culture Book Chapters and Sections
Title: Niccolò Bruna's ethical process as social engagement: upholding human stories against a backdrop of globalization
Author(s): Fleming, David
Gilardi, Filippo
Contact Email:
Editor(s): Cristiano, Anthony
Coen, Carlo
Citation: Fleming D & Gilardi F (2020) Niccolò Bruna's ethical process as social engagement: upholding human stories against a backdrop of globalization. In: Coen C & Cristiano A (eds.) Experimental and Independent Italian Cinema: Legacies and Transformations into the Twenty-First Century. Edinburgh: Edinburgh University Press, pp. 1-280.
Issue Date: Jul-2020
Date Deposited: 8-Oct-2019
Abstract: Born in Turin, Italy, Niccolò Bruna is an independent filmmaker and producer who has been experimenting with the expressive tools of documentary-film since attending the EICTV (Escuela Internacional de Cine y Television) in Cuba in 1999. He moved to Barcelona in 2014 adding his name to the Italian phenomenon known as the ‘fuga dei cervelli’ (a “brain drain” that saw thousands of well-educated, creative and innovative Italian people leave the country because of a lack of opportunities, poor working conditions, and high living costs). Associated with this, his growing body of films highlight the effects of moving bodies and shifting identities undergoing, in one form or another, migration in-between different nation states. In this chapter we take the opportunity to view Bruna’s documentary corpus holistically, asking of it what it means to be an ethical documentary filmmaker in the epoch that the Mexican-Argentine philosopher Enrique Dussel calls the age of “globalisation and exclusion.” Certainly, Bruna’s work is that of a global itinerant, foregrounding human-interest stories against a backdrop of prejudicial globalization. Although this demands that he research and record in a radically diverse range of global locations (that now includes Italy, Brazil, India, China, Cuba, and Ethiopia), we can still identify a loose yet consistent series of themes, tropes, and motifs that define his expanding body of heterogeneous (and heteroglossic) work. These can be broadly adumbrated here as being linked to 1) the director’s preference for a dispersed mode of storytelling that leads to a polycentric view of a given milieu or event 2) an ethically “withdrawn” or absented auteur persona, which foregoes any authoritative “voice over” conventions, while allowing framing, editing, and the characters themselves to build the multi-aspectual stories instead; and 3) a tropological favouring of female perspectives and characters with regard to the various events presented.
Rights: The publisher does not allow this work to be made publicly available in this Repository. Please use the Request a Copy feature at the foot of the Repository record to request a copy directly from the author. You can only request a copy if you wish to use this work for your own research or private study.
Licence URL(s):

Files in This Item:
File Description SizeFormat 
Accepted chapter by David H. Fleming _ Filippo Gilardi_08_10_2019.pdfFulltext - Accepted Version291 kBAdobe PDFUnder Permanent Embargo    Request a copy

Note: If any of the files in this item are currently embargoed, you can request a copy directly from the author by clicking the padlock icon above. However, this facility is dependent on the depositor still being contactable at their original email address.

This item is protected by original copyright

Items in the Repository are protected by copyright, with all rights reserved, unless otherwise indicated.

The metadata of the records in the Repository are available under the CC0 public domain dedication: No Rights Reserved

If you believe that any material held in STORRE infringes copyright, please contact providing details and we will remove the Work from public display in STORRE and investigate your claim.