In recent years Naples has experienced a kind of hyper-narration, especially in film and literature, which has further enriched an already very sedimented imaginary. The pendulum has always swung like mad between peaks and depressions, and it is difficult to form an idea, to calculate an average, to imagine a Neapolitan normality, if such a thing exists. What is the balance sheet of this season, in which Naples has been the most filmed city in Italy? Where should one seek this longed-for normality? Perhaps one must "go up" to Vomero, a neighborhood considered almost alien to the city, precisely because it is assumed to be "normal", inhabited by a middle class, homogeneous, pacified. A reality in contrast with the over-the-top life of the historic center, crossed by a thousand architectural, historical, and social stratifications, yet even there an alternative interpretive key exists. The center, with its underground city and the art metro, as a virtuous model of coexistence between ancient and modern and not merely as yet another variation on exotic exceptionalism. Bagnoli's odyssey, which for thirty years has been waiting for one of the thousand redevelopment projects for its industrial area to come to life, is contrasted with the cutting-edge campuses of the former Cirio plant in San Giovanni a Teduccio, which have a positive impact on the area, as has also happened in the film sector with its many productions in the most difficult neighborhoods. A great success story is Fanpage, which has established itself as a highly innovative newspaper and represents a Naples that attracts talent instead of letting it slip away, that exports models, that colonizes instead of being colonized. On the governmental level too, the "city-state" and its "king-mayors" present themselves as a political laboratory that often precedes what will become trends at the national level. For better or worse, Naples always amazes, even when it does everything to be "normal".
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In recent years Naples has experienced a kind of hyper-narration, especially in film and literature, which has further enriched an already very sedimented imaginary. The pendulum has always swung like mad between peaks and depressions, and it is difficult to form an idea, to calculate an average, to imagine a Neapolitan normality, if such a thing exists. What is the balance sheet of this season, in which Naples has been the most filmed city in Italy? Where should one seek this longed-for normality? Perhaps one must "go up" to Vomero, a neighborhood considered almost alien to the city, precisely because it is assumed to be "normal", inhabited by a middle class, homogeneous, pacified. A reality in contrast with the over-the-top life of the historic center, crossed by a thousand architectural, historical, and social stratifications, yet even there an alternative interpretive key exists. The center, with its underground city and the art metro, as a virtuous model of coexistence between ancient and modern and not merely as yet another variation on exotic exceptionalism. Bagnoli's odyssey, which for thirty years has been waiting for one of the thousand redevelopment projects for its industrial area to come to life, is contrasted with the cutting-edge campuses of the former Cirio plant in San Giovanni a Teduccio, which have a positive impact on the area, as has also happened in the film sector with its many productions in the most difficult neighborhoods. A great success story is Fanpage, which has established itself as a highly innovative newspaper and represents a Naples that attracts talent instead of letting it slip away, that exports models, that colonizes instead of being colonized. On the governmental level too, the "city-state" and its "king-mayors" present themselves as a political laboratory that often precedes what will become trends at the national level. For better or worse, Naples always amazes, even when it does everything to be "normal".
