In recent years, Naples has experienced a kind of hyper-narration, especially cinematic and literary, which has further enriched an already well-established imagery. The pendulum has always swung wildly between peaks and depressions, and it is difficult to form an idea, to average out, to imagine a Neapolitan normality, assuming it exists. What is the balance of this season, in which Naples has been the most filmed city in Italy? Where to look for this longed-for normality? Perhaps one must "climb" to Vomero, a neighborhood considered almost foreign to the city, precisely because it is supposed to be "normal", inhabited by a middle class, homogeneous, pacified? A reality in contrast with the extravagant life of the historic center, crossed by a thousand stratifications – architectural, historical, and social – and yet there too exists an alternative key to understanding: the center, with its underground city and the art metro, as a virtuous model of coexistence between ancient and modern and not just as yet another variation of exotic exceptionalism. To the odyssey of Bagnoli, which has been waiting for thirty years for one of the thousand redevelopment projects of its industrial area to come to life, are opposed the cutting-edge campuses of the former Cirio in San Giovanni a Teduccio, which have a positive impact on the territory, as has also happened in the film sector with its many productions in the most challenging neighborhoods. A case of great success is that of Fanpage, which has established itself as a highly innovative journalistic outlet and represents a Naples that attracts talents, instead of letting them slip away, that exports models, that colonizes instead of being colonized. Even at the government level, the "city-state" and its "monarch mayors" present themselves as a political laboratory that often precedes what will become trends at the national level. For better or worse, Naples always surprises, even when it does everything to be "normal".
In recent years, Naples has experienced a kind of hyper-narration, especially cinematic and literary, which has further enriched an already well-established imagery. The pendulum has always swung wildly between peaks and depressions, and it is difficult to form an idea, to average out, to imagine a Neapolitan normality, assuming it exists. What is the balance of this season, in which Naples has been the most filmed city in Italy? Where to look for this longed-for normality? Perhaps one must "climb" to Vomero, a neighborhood considered almost foreign to the city, precisely because it is supposed to be "normal", inhabited by a middle class, homogeneous, pacified? A reality in contrast with the extravagant life of the historic center, crossed by a thousand stratifications – architectural, historical, and social – and yet there too exists an alternative key to understanding: the center, with its underground city and the art metro, as a virtuous model of coexistence between ancient and modern and not just as yet another variation of exotic exceptionalism. To the odyssey of Bagnoli, which has been waiting for thirty years for one of the thousand redevelopment projects of its industrial area to come to life, are opposed the cutting-edge campuses of the former Cirio in San Giovanni a Teduccio, which have a positive impact on the territory, as has also happened in the film sector with its many productions in the most challenging neighborhoods. A case of great success is that of Fanpage, which has established itself as a highly innovative journalistic outlet and represents a Naples that attracts talents, instead of letting them slip away, that exports models, that colonizes instead of being colonized. Even at the government level, the "city-state" and its "monarch mayors" present themselves as a political laboratory that often precedes what will become trends at the national level. For better or worse, Naples always surprises, even when it does everything to be "normal".
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