Re-viewing Fascism: Italian Cinema, 1922-1943Jacqueline Reich, Piero Garofalo Indiana University Press, 7. maj 2002 - 384 sider When Benito Mussolini proclaimed that "Cinema is the strongest weapon," he was telling only half the story. In reality, very few feature films during the Fascist period can be labeled as propaganda. Re-viewing Fascism considers the many films that failed as "weapons" in creating cultural consensus and instead came to reflect the complexities and contradictions of Fascist culture. The volume also examines the connection between cinema of the Fascist period and neorealism—ties that many scholars previously had denied in an attempt to view Fascism as an unfortunate deviation in Italian history. The postwar directors Luchino Visconti, Roberto Rossellini, and Vittorio de Sica all had important roots in the Fascist era, as did the Venice Film Festival. While government censorship loomed over Italian filmmaking, it did not prevent frank depictions of sexuality and representations of men and women that challenged official gender policies. Re-viewing Fascism brings together scholars from different cultural and disciplinary backgrounds as it offers an engaging and innovative look into Italian cinema, Fascist culture, and society. |
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Italian Cinema, 1922-1943 Jacqueline Reich, Piero Garofalo. Preface At a 1936 rally announcing massive state intervention in the film indus- try , Benito Mussolini appeared in front of a large banner that bore the soon - to - be infamous ...
... Italian Cinema , 1922-1943 draws on these excit- ing contributions to Fascist studies by applying their insights into his- tory , gender , sociology , culture , and literature to the feature film produc- tion of the era . The works ...
... Film , and Culture " surveys the history of Italian cinema during Fascism as well as the cultural debates that circulated during the ventennio . She notes how Italian cinema , in es- chewing more overt propaganda and in relying instead ...
Italian Cinema, 1922-1943 Jacqueline Reich, Piero Garofalo. X and fetishized the social privilege of a modern ... cinema and telephony constituted two interdependent " concrete assemblages " through which the Italian nation has been con ...
Italian Cinema, 1922-1943 Jacqueline Reich, Piero Garofalo. xi envisioned for women in the construction of the Italian colonial empire . Pickering - lazzi also explores problems arising from the application of current theories of ...
Indhold
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Dubbing LArte Muta Poetic Layerings around Italian Cinemas Transition to Sound | 30 |
Intimations of Neorealism in the Fascist Ventennio | 83 |
Placing Cinema Fascism and the Nation in a Diagram of Italian Modernity | 105 |
Fascism Cinema and Sexuality | 139 |
Sex in the Cinema Regulation and Transgression in Italian Films 19301943 | 141 |
Luchino Viscontis Homosexual Ossessione | 172 |
Ways of Looking in Black and White Female Spectatorship and the Miscegenational Body in Sotto la croce del sud | 194 |
Seeing Red The Soviet Influence on Italian Cinema in the Thirties | 223 |
Theatricality and Impersonation The Politics of Style in the Cinema of the Italian Fascist Era | 250 |
Shopping for Autarchy Fascism and Reproductive Fantasy in Mario Camerinis Grandi magazzini | 276 |
The Last Film Festival The Venice Biennale Goes to War | 293 |
Film Stars and Society in Fascist Italy | 315 |
Selected Bibliography | 341 |
Contributors | 353 |
Index | 356 |
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Re-viewing Fascism: Italian Cinema, 1922-1943 Jacqueline Reich,Piero Garofalo Begrænset visning - 2002 |
Re-viewing Fascism: Italian Cinema, 1922-1943 Jacqueline Reich,Piero Garofalo Begrænset visning - 2002 |
Re-viewing Fascism: Italian Cinema, 1922-1943 Jacqueline Reich,Piero Garofalo Ingen forhåndsvisning - 2002 |