Abstract ‘Unravelling Moretti's (political) unconscious' looks at Nanni Moretti's most recent film, La stanza del figlio (The Son's Room), to re-assess the director's obsession with self-referentiality and attempt a political reading
of his understanding and representation of subjectivity. Given the film's explicit emphasis on ‘trauma’ and ‘loss’, the question of subjectivity is approached from apsychoanalytic (Lacanian) perspective. More precisely, the article draws on Lacanian theory to claim
that the fundamental political dimension of the film should be identified in its insistence on representing the Lacanian notion of the Real (le Réel) as a traumatic formation produced by the socio-symbolic order itself.
Journal of Romance Studies promotes innovative critical work in the areas of linguistics, literature, performing and visual arts, media, material culture, intellectual and cultural history, critical and cultural theory, psychoanalysis, gender studies, social sciences, and anthropology. The primary focus is on those parts of the world that speak, or have spoken, French, Italian, Spanish or Portuguese, but work on other cultures may be included. Issues cross national and disciplinary boundaries in order to stimulate new ways of thinking about cultural history and practice.