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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... regime rife with conflicts and contradictions . Victoria de Grazia and George Mosse have introduced the categories of gender and sexuality into the arena of Fascist studies , revealing both Fascism's need to construct a gender ideal and ...
... regime's ubiquitous maternal discourse . Through a critical examination of the nature of Fascist ideology , Italian cinema as Fascist cultural industry , and a survey of previous scholarship on the period , Reich reveals the many ...
... regime had with the Soviet Union and how the texts of Dovzhenko , Eisenstein , Pudovkin , and Vertov circulated in Italy via literature , cinema , and cultural critics . He demonstrates how cinema integrated cultural discourse with ...
... regime appropriated and adapted the cultural capital of elite culture through a reconfiguration of its content . For Stone , the 1942 Festival reflected both Fascism's attempt to unify its culture and ideology with Nazism and the ...
... regime totalitario , 2 vols . ( Roma : L'Arnia , 1949 ) , 1 : 387-400 . Unless otherwise noted , all translations are ours . 2. The counterculture movements of the 1960s also manifested themselves in cinema studies in reaction to a ...
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 |