Abstract
From Italy’s capital to its northern borders runs an old racist ad-age: “Africa begins in Naples.” In a range of texts and films beginning in the late 1950s, Pier Paolo Pasolini shifted that proverbial frontier further north, to places like Pietralata, or Rebibbia, or Tiburtina: that is, to the edges of the Eternal City itself, to the borgate disinherited from authority both urban and institutional. The very notion of “Africa,” Pasolini writes in 1961,is the concept of an extremely complex subproletarian condition that has yet to be utilized as a real revolutionary force. Perhaps I am best able to define this concept if we identify Africa with the entire world of Bandung [Indonesia, site of a...