In recent years, Naples has experienced a kind of hyper-narration, especially in cinema and literature, which has further enriched an already deeply rooted imagery. The pendulum has always swung wildly between peaks and depressions, making it difficult to form an idea, find an average, or imagine a Neapolitan normality, if such a thing exists. What is the balance of this season, in which Naples was the most filmed city in Italy? Where to look for this longed-for normality? Perhaps one must "ascend" to Vomero, a neighborhood considered almost foreign to the city precisely because it is supposed to be "normal," inhabited by a middle bourgeoisie, homogeneous, and peaceful? A reality in contrast with the over-the-top life of the historic center, crossed by a thousand layers—architectural, historical, and social—and yet even there exists an alternative reading: 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. Opposed 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 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 difficult neighborhoods. A great success story is Fanpage, which has established itself as a highly innovative news outlet and represents a Naples that attracts talent instead of losing it, that exports models, that colonizes instead of being colonized. Even on the governmental level, the "city-state" and its "monarch mayors" present themselves as a political laboratory that often precedes trends that will become national. 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 cinema and literature, which has further enriched an already deeply rooted imagery. The pendulum has always swung wildly between peaks and depressions, making it difficult to form an idea, find an average, or imagine a Neapolitan normality, if such a thing exists. What is the balance of this season, in which Naples was the most filmed city in Italy? Where to look for this longed-for normality? Perhaps one must "ascend" to Vomero, a neighborhood considered almost foreign to the city precisely because it is supposed to be "normal," inhabited by a middle bourgeoisie, homogeneous, and peaceful? A reality in contrast with the over-the-top life of the historic center, crossed by a thousand layers—architectural, historical, and social—and yet even there exists an alternative reading: 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. Opposed 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 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 difficult neighborhoods. A great success story is Fanpage, which has established itself as a highly innovative news outlet and represents a Naples that attracts talent instead of losing it, that exports models, that colonizes instead of being colonized. Even on the governmental level, the "city-state" and its "monarch mayors" present themselves as a political laboratory that often precedes trends that will become national. For better or worse, Naples always amazes, even when it does everything to be "normal."
