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Grounded in theories of workerism ( operaismo ) and post-workerism ( autonomia  and  post-autonomia ), this paper examines how Federico Rizzo’s  Fuga dal call center  and, more extensively, Paolo Virzì’s  Tutta la vita davanti , both films from 2008, register the shift from material to immaterial labor in the twenty-first century. In both films, the call center replaces the factory as the space of labor; it is the privileged site where relational and affective skills, once not considered economically exploitable, become a source of surplus value, one that is gendered feminine. Against the exterior backdrop of a postmodern Rome and with interiors that mimic the non-spaces of the airport and television studio, Virzì stages work in the world of the hyper-real, which has become reality itself. Though they are works of fiction, heirs to the tradition of the 1960s  commedia all’italiana , both films engage with an “ethics of the real” as Lucia Nagib has theorized it, and are concerned with addressing the socio-economic condition of a twenty-first-century class-in-the-making, the precariat, and its uncertain future.

Call Center Blues: Italian Cinema and the New Economy