Italian Fascism S Empire Cinema

Ruth Ben-Ghiat provides the first in-depth study of feature and documentary films produced under the auspices of Mussolini’s government that took as their subjects or settings Italy’s African and Balkan colonies. These "empire films" were Italy's entry into an international market for the exotic. The films engaged its most experienced and cosmopolitan directors (Augusto Genina, Mario Camerini) as well as new filmmakers (Roberto Rossellini) who would make their marks in the postwar years. Ben-Ghiat sees these films as part of the aesthetic development that would lead to neo-realism. Shot in Libya, Somalia, and Ethiopia, these movies reinforced Fascist racial and labor policies and were largely forgotten after the war. Ben-Ghiat restores them to Italian and international film history in this gripping account of empire, war, and the cinema of dictatorship.

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.

The first full-length study of how Italian colonialism in Africa used the history of Roman imperialism on the continent to legitimise and promote its own imperial endeavours. Agbamu looks at a broad range of cultural documents to examine how the discourse of colonialism as 'the return of Rome' to land rightfully Italian was disseminated.

Written by leading figures in the field, A Companion to Italian Cinema re-maps Italian cinema studies, employing new perspectives on traditional issues, and fresh theoretical approaches to the exciting history and field of Italian cinema. Offers new approaches to Italian cinema, whose importance in the post-war period was unrivalled Presents a theory based approach to historical and archival material Includes work by both established and more recent scholars, with new takes on traditional critical issues, and new theoretical approaches to the exciting history and field of Italian cinema Covers recent issues such as feminism, stardom, queer cinema, immigration and postcolonialism, self-reflexivity and postmodernism, popular genre cinema, and digitalization A comprehensive collection of essays addressing the prominent films, directors and cinematic forms of Italian cinema, which will become a standard resource for academic and non-academic purposes alike

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.

From neorealism's resolve to Berlusconian revisionist melodramas, this book examines cinema's role in constructing memories of Fascist Italy. Italian cinema has both reflected and shaped popular perceptions of Fascism, reinforcing or challenging stereotypes, remembering selectively and silently forgetting the most shameful pages of Italy's history.

Visualizing Fascism argues that fascism was not merely a domestic menace in a few European nations, but arose as a genuinely global phenomenon in the early twentieth century. Contributors use visual materials to explore fascism's populist appeal in settings around the world, including China, Japan, South Africa, Slovakia, and Spain. This visual strategy allows readers to see the transnational rise of the right as it fed off the agitated energies of modernity and mobilized shared political and aesthetic tropes. This volume also considers the postwar aftermath as antifascist art forms were depoliticized and repurposed in the West. More commonly, analyses of fascism focus on Italy and Germany alone and on institutions like fascist parties, but that approach truncates our understanding of the way fascism was indebted to colonialism and internationalism with all their attendant grievances and aspirations. Using photography, graphic arts, architecture, monuments, and film—rather than written documents alone—produces a portable concept of fascism, useful for grappling with the upsurge of the global right a century ago—and today. Contributors. Nadya Bair, Paul D. Barclay, Ruth Ben-Ghiat, Maggie Clinton, Geoff Eley, Lutz Koepnick, Ethan Mark, Bertrand Metton, Lorena Rizzo, Julia Adeney Thomas, Claire Zimmerman

Through the story of one exemplary fascist—a war hero turned commander of Mussolini’s Black Shirts—the award-winning author of How Fascism Ruled Women reveals how the personal became political in the fascist quest for manhood and power. When Attilio Teruzzi, Mussolini’s handsome political enforcer, married a striking young American opera star, his good fortune seemed settled. The wedding was a carefully stage-managed affair, capped with a blessing by Mussolini himself. Yet only three years later, after being promoted to commander of the Black Shirts, Teruzzi renounced his wife. In fascist Italy, a Catholic country with no divorce law, he could only dissolve the marriage by filing for an annulment through the medieval procedures of the Church Court. The proceedings took an ominous turn when Mussolini joined Hitler: Lilliana Teruzzi was Jewish, and fascist Italy would soon introduce its first race laws. The Perfect Fascist pivots from the intimate story of an inconvenient marriage—brilliantly reconstructed through family letters and court records—to a riveting account of Mussolini’s rise and fall. It invites us to see in the vain, loyal, lecherous, and impetuous Attilio Teruzzi, a decorated military officer with few scruples and a penchant for parades, an exemplar of fascism’s New Man. Why did he abruptly discard the woman he had so eagerly courted? And why, when the time came to find another partner, did he choose another Jewish woman as his would-be wife? In Victoria de Grazia’s engrossing account, we see him vacillating between the will of his Duce and the dictates of his heart. De Grazia’s landmark history captures the seductive appeal of fascism and shows us how, in his moral pieties and intimate betrayals, his violence and opportunism, Teruzzi is a forefather of the illiberal politicians of today.