Abstract

The «being here» of the migrants becomes meaningful only if related to the presence of an «elsewhere», in a polyphonic (or «contrapuntal») relationship. Their perception and interaction with the urban landscape, in this sense, is crucial. Postcolonial film studies have recently tackled this issue, both in Italy and worldwide, and Italian contemporary cinema did the same, giving almost life to an autonomous genre. Among the others, the Archivio delle Memorie Migranti productions are particularly emblematic of this tendency, as they question the nature of the gaze of the Other, both seen as the subject and the object of representation.