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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... later , in front of a group of young film scholars , he an- swered the question " What is cinema ? " in less belligerent terms : For me , films are divided into two categories : those during which the audience asks itself how it will ...
... later by another in Ancona , Italy , in which these long - neglected films could be reevaluated . It was not until the 1980s , thanks in large part to the comprehensive studies of Elaine Mancini , Marcia Landy , and James Hay , that ...
... later , which would decide which films , both domestic and foreign , were appropriate for Ital- ian viewers . The board initially consisted of an official from the Office of Public Security , a magistrate , and an Italian mother ...
... later the Minculpop ) , the censorial emphasis shifted to the dual project of control and encouragement . Nevertheless , while the board did play an important role in pre- and post - production cen- sorship , the real power rested with ...
... later she par- takes in a full - fledged feast complete with shady commercial wheeling and dealing . Her job as strozzina ( literally , a choker ) involves profiting from the misery of others : as she prepares to go to the theater , she ...
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 |