On a late afternoon in May, the crew rushed to get the last shot of the day done before the sun set.1¹ The shabby square in the popular neighbourhood of La Kalsa, Palermo, had been filled with props and cordoned off by the production team, assigned to keep the gathered onlookers away from the set. The scene being recorded is a flashback, set in the early 1980s, depicting a slaughter committed by future mafia2² leaders Totò Riina and Bernardo Provenzano at the height of the Second Mafia War, which eventually consecrated the rule of their Corleone faction over all the Palermo families. Most onlookers grumbled at the sight of fake blood poured on the pavement, volubly expressing their disappointment at the sight of of yet another ‘mafia TV’ shooting. It was my eighth visit on the set of Il Cacciatore/The Hunter (Cross Productions-Rai Fiction, 2018– ) and I had witnessed this spectacle every time an outdoor shooting captured the attention of a few passers-by. As a native Sicilian myself I am accustomed to these protests; as an audience member I grew up with them in my own household. This time, however, something new happened: after the first shot, a group of street urchins between six and eight years old, yelling in dialect, scattered around the scene and started addressing the actors with colourful invectives. Unlike the many locals who argue that Sicilian history, culture and natural beauty ought to make it into the national media, not just mafia violence, the kids had more technical grievances, though still related to matters of correct representation. ‘How the hell are you carrying that gun?’, one shouted at the bemused actor interpreting future ‘boss of the bosses’ Riina. ‘Is that the way you’d die, moron?’, another added. The line producer, already nervous in relation to the tight schedule, whispered in the ear of one of his assistants: ‘Find out how to do it right and kick them out’. Some minor episodes of confusion followed. After a couple of ruined takes, three local workers – a production assistant, a video technician and the dialogue coach – managed to distract and appease the kids by letting them mime the correct development of the scene for the amusement of the few spectators who were paying attention to them rather than the actors.

中文翻译：

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真实性的劳动：黑手党电视、地区主义和生产文化

5 月的一个傍晚，剧组赶在太阳落山前完成当天的最后一个镜头。1 ¹巴勒莫拉卡尔萨热门街区的破旧广场已经堆满道具，并被制作人员封锁团队，被分配让聚集的旁观者远离现场。录制的场景是 1980 年代初期的倒叙，描绘了未来黑手党^{2 2}领导人托托·里纳 (Totò Riina) 和贝尔纳多·普罗文扎诺 (Bernardo Provenzano) 在第二次黑手党战争最激烈的时候进行的屠杀，最终使他们的科里昂派系对整个巴勒莫的统治神圣化家庭。大多数围观者看到人行道上洒满了假血，纷纷抱怨，大声表达他们对又一“黑手党电视”拍摄的失望。这是我第八次访问片场Il Cacciatore /猎人（Cross Productions-Rai Fiction，2018-）每次户外拍摄引起一些路人的注意时，我都目睹了这一奇观。作为土生土长的西西里人，我已经习惯了这些抗议；作为观众，我在自己的家庭中与他们一起长大。然而这一次，新的事情发生了：第一次拍摄后，一群六八岁的街头顽童，用方言大喊大叫，分散在现场，开始用五颜六色的谩骂对演员说话。许多当地人认为西西里的历史、文化和自然美景应该成为国家媒体，而不仅仅是黑手党暴力，孩子们有更多技术上的不满，尽管仍然与正确表达的问题有关。“你他妈的怎么拿着那把枪？”，有人对着解释未来“老板的老板”里纳的困惑的演员大喊大叫。“这就是你死的方式吗，白痴？”另一位补充道。线路制作人已经对紧张的日程安排感到紧张，他在他的一位助手耳边低声说：“找出正确的方法并将他们踢出去”。随后发生了一些轻微的混乱。在几次毁掉的镜头之后，三名当地工人——一名制作助理、一名视频技术人员和对话教练——设法让孩子们模仿正确的场景发展来分散和安抚孩子们的注意力，以取悦少数付钱的观众关注他们而不是演员。'找出正确的方法并将他们踢出去'。随后发生了一些轻微的混乱。在几次毁掉的镜头之后，三名当地工人——一名制作助理、一名视频技术人员和对话教练——设法让孩子们模仿正确的场景发展来分散和安抚孩子们的注意力，以取悦少数付钱的观众关注他们而不是演员。'找出正确的方法并将他们踢出去'。随后发生了一些轻微的混乱。在几次毁掉的镜头之后，三名当地工人——一名制作助理、一名视频技术人员和对话教练——设法让孩子们模仿正确的场景发展来分散和安抚孩子们的注意力，以取悦少数付钱的观众关注他们而不是演员。