Digital gleaning, feminist futures: Around Alina Marazzi’s Un’ora sola ti vorrei (for one more hour with you) (2002)

This article situates Alina Marazzi’s Un’ora sola ti vorrei (For One More Hour with You) (2002) within the context of a larger preoccupation with memory and the archive in contemporary global media activism. Whereas Emma Wilson and Sara Filippelli have dwelled on the private dimension of the film, I argue that its labour of ‘digital gleaning’ - like Agnès Varda’s - seeks to save from decay, and allow to ripen, a past of feminist struggles. Taking up Millicent Marcus’s commitment to read together for film form and film politics, I focus on Marazzi’s use of editing and show how in this case montage is meant to assemble a new experience of national history. Through a comparative analysis of For One More Hour with You and Cecilia Mangini’s Essere donne (‘Being women’) (1964), I conclude that the peculiar interest of Marazzi’s film lies in the way it twins the history of the moving images and the trajectory of Italian society, conjuring in this way a different future for the nation and its cinema.