The paper focuses on the issue of cinematic representation of Milan. The approach is based on Henri Lefebvre’s well-known argument regarding the importance of the textual nature of the city per se applicable to the analysis of the cinematic city. The analysis considers the ways in which Italian filmmakers represent Milan. It attempts to outline the ‘classical map’ of textual Milan created in Italian cinema and examines its changes in Luca Guadagnino’s recent film Io sono l’amore (I Am Love, 2009). The analysis of the configuration of the diegetic city-space together with the exploration of the narrative devices in the representation of the city in Guadagnino’s film help to delineate the significance of a new cityscape and evaluate the changes to the ‘classical map’ of cinematic Milan.
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