In 1993, a few months before his death, the veteran film director Federico Fellini was invited to the University of Bologna to receive an honorary doctorate. Bologna, the oldest modern university in the world, wished to bestow on Fellini its institutional recognition of his half a century in the Italian film industry. Not unflattered, Fellini declined, and wrote to the rector of the university that he felt ‘like Pinocchio being decorated by the headmaster and carabinieri for cavorting in Pleasure Island’.

‘Soprattutto un attore di quella drammatica fase della vita italiana è stato tuttavia privilegiato in modo schiacciante come oggetto di studio: il “soggetto terrorista”, ovvero i terroristi e le organizzazioni terroristiche.’

(‘One kind of actor in that dramatic period of Italian life has been privileged above all others, in an overwhelming way by researchers and others: the terrorists themselves and their organisations.’ (Brizzi 2021, 11).

The ‘Fact Checking’ series of titles published by Laterza since 2020 is, in the first place, a response to the proliferation of historical fake news, which has grown exponentially as a consequence of social networks. But it is also a response to an increasingly systematic political abuse of history – not only in Italy. The authors and the public firmly believe in the necessity of restoring complexity and value to historical research, as well as in the importance of playing a significant role in the public debate about our past. In many ways the political use of history works in an authoritarian and anti-democratic manner, spreading erroneous and dangerous convictions among broad sections of society. Among the examples which appear in various sections of the article, we discuss the books in the series which problematise the ‘official’ and victimist version of events which took place on the Italian-Yugoslavian border at the end of the Second World War. Other parts of the article examine the instrumental readings of the history and experience of twentieth-century communism.

If the ‘colour line’ was prophetically defined as the issue of the twentieth century, in the twenty-first century the concern of many scholars is with the research methodology that the attention on the colour line has generated. Migration, postcolonial, and blackness studies focusing on Italy have all asked fundamental questions on how to reframe history, memory, and culture. Charles Burdett (2018) has posited that migration and mobility are vital for the repositioning of the discipline of Italian Studies and Modern Languages as a whole. Critics have argued that Italian Black literature is redefining Italian literature (Romeo 2017) and its reception (Patriarca 2018). Alessandra Ciucci's recent monograph The Voice of the Rural: Music, Poetry and Masculinity among Migrant Moroccan Men in Umbria (2022) and the volume The Black Mediterranean: Borders, Bodies and Citizenship (2021) edited by the Black Mediterranean Collective contribute to this discussion. Both books offer new approaches to analyse migration and deconstruct Eurocentrism. They both emphasise the migrants’ agency and theorise the researcher's position as a tool for the decolonisation of culture.