Cinema and Fascism: Italian Film and Society, 1922–1943University of California Press, 1. feb. 2008 - 248 sider This study considers Italian filmmaking during the Fascist era and offers an original and revealing approach to the interwar years. Steven Ricci directly confronts a long-standing dilemma faced by cultural historians: while made during a period of totalitarian government, these films are neither propagandistic nor openly "Fascist." Instead, the Italian Fascist regime attempted to build ideological consensus by erasing markers of class and regional difference and by circulating terms for an imaginary national identity. Cinema and Fascism investigates the complex relationship between the totalitarian regime and Italian cinema. It looks at the films themselves, the industry, and the role of cinema in daily life, and offers new insights into this important but neglected period in cinema history. |
Indhold
| 1 | |
1 Amnesia and Historical Memory | 19 |
2 The Political Economy of Italian Cinema 19221943 | 52 |
3 Leisure Time Historiography and Spectatorship | 77 |
Fascination and ReNegotiation | 125 |
5 The Fascist Codex | 156 |
Resistance and the Return of the Local | 178 |
Notes | 187 |
Selected Bibliography | 207 |
Index | 219 |
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Alessandro Blasetti American films attempted audience’s Brunetta Cabiria Camerini’s censorship character cinema italiano cinema under fascism cinematografica Condottieri construction contemporary context country’s critical decade discourse discussion Dona Paola dubbing Duce economic Editori Edizioni example fascist cultural Fascist Italy fascist period fiction films Figure film industry film’s Firenze Forgacs Frame enlargement genre Gianni Giovanni Hollywood ideological Il signor Max important Istituto LUCE Italian audiences Italian cinema Italian culture Italian fascism Italian film production Italy’s located LUCE newsreels Maciste major Mario Camerini Massenzio Milano modern narrative national identity neorealism neorealist newsreels number of films organization overall Paisà particular percent political popular practices presented print version propaganda public sphere readership reading refer regime’s relationship representation role Roma Roman Rome Sica significant social specific state’s Storia del cinema texts textual theaters tion Treno popolare University Press view this image Vittorio Vittorio De Sica
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Side 156 - ... the spectacle presents itself simultaneously as all of society, as part of society, and as an instrument of unification. As a part of society it is specifically the sector which concentrates all gazing and all...
Side 164 - The bourgeois public sphere has been structured from the outset by a logic of abstraction that provides a privilege for unmarked identities: the male, the white, the middle class, the normal.
Side 53 - I alone, assume the political, moral and historical responsibility for all that has happened...
Side 107 - Inside, there is the immobility of an order. Here rest and dreams reign supreme. There is nothing to do, one is in the state of reason. Everything is in its place, as in Hegel's Philosophy of Right. Every being is placed there like a piece of printer's type on a page arranged in military order. This order, an organizational system, the quietude of a certain reason, is the condition of both a railway car's and a text's movement from one place to another. Outside, there is another immobility, that...
Side 125 - But what never failed to strike me most of all — and by now I had been in almost every house — -were the eyes of the two inseparable guardian angels that looked at me from the wall over the bed. On one side was the black, scowling face, with its large, inhuman eyes, of the Madonna of Viggiano ; on the other a colored print of the sparkling eyes, behind gleaming glasses, and the hearty grin of President Roosevelt. I never saw other pictures or images than these : not the King nor the Duce, nor...
Side 45 - Comrades, it is no longer time for speeches, but for action, and for action after the high Roman fashion. If it is a crime to incite people to violence, I boast of now committing that crime.
Side 9 - The audience must be conceived of as composed of clusters of socially situated individual readers, whose individual readings will be framed by shared cultural formations and practices pre-existent to the individual: shared 'orientations...
Side 10 - Any society/culture tends, with varying degrees of closure, to impose its classifications of the social and cultural and political world. These constitute a dominant cultural order, though it is neither univocal nor uncontested. This question of the 'structure of discourses in dominance
Side 8 - ... horizon of expectations against which it is received and which poses the questions to which the work comes to function as an answer, Jauss has inaugurated the vast and complex enterprise of describing these horizons, which are of course the product of the discourses of a culture.