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This book offers the first comprehensive analysis of the role of
cinema in the communication strategy of the Italian Communist party
(the PCI). It examines the entire period during which the party had
a systematic and organized approach to cinematographic production,
starting with the early experiments in 1946 and concluding with the
closure of PCI film company Unitelefilm at the end of the 1970s.
Its analysis sheds light on a range of issues, such as the
relationship between the party and Italian intellectuals, the
Stalinist imprint of the Italian Communist Party and the historical
significance of the Salerno turn, the PCI's relationship with the
student movements in 1968 and 1977, and the PCI's response to the
rise in political violence in the 1970s. Ultimately, the book
demonstrates that cinema was essential to the PCI's propaganda
effort.
This book offers the first comprehensive analysis of the role of
cinema in the communication strategy of the Italian Communist party
(the PCI). It examines the entire period during which the party had
a systematic and organized approach to cinematographic production,
starting with the early experiments in 1946 and concluding with the
closure of PCI film company Unitelefilm at the end of the 1970s.
Its analysis sheds light on a range of issues, such as the
relationship between the party and Italian intellectuals, the
Stalinist imprint of the Italian Communist Party and the historical
significance of the Salerno turn, the PCI's relationship with the
student movements in 1968 and 1977, and the PCI's response to the
rise in political violence in the 1970s. Ultimately, the book
demonstrates that cinema was essential to the PCI's propaganda
effort.
In no other country in Europe has national identity been so closely
bound to memories of the war. Italy's Republic was born of World
War II, its constitution defined by anti-Fascism, its parties
self-identified with national Resistance. Because of their
importance to the nation's identity, the nature and meaning of the
war have been the focus of great contention, from 1943 to the
present day. In recent years Italy has taken on a national
evaluation of the more troubling and contested aspects of its role
in the war, including its support of Fascism and collaboration
after 1943, its treatment of Jews and other minorities, deep
national divisions that created a civil war between 1943 and 1945,
and the centrality of war myth to lingering postwar problems.
Scholars of Italian history, literature, and cinema play a
fundamental role in this appraisal, and this volume of essays
attests to the importance of film and literature to the ways in
which changing political, social and cultural imperatives have
altered the war's memory. These articles expand our understanding
of the shifting phases in national memory by highlighting
significant features of each era's portrayal of the war.
Contributions come from eight scholars who capture the full variety
of disciplinary and sub-disciplinary approaches that are current
today, including film genre studies, cultural history, gender
studies, Holocaust studies, and the very new fields of emotion
studies, shame theory, and environmental studies. Their innovative
application of questions and methods that speak to important new
subfields in Italian Studies make this volume an invaluable tool
for scholars and their students.
In no other country in Europe has national identity been so closely
bound to memories of the war. Italy’s Republic was born of World
War II, its constitution defined by anti-Fascism, its parties
self-identified with national Resistance. Because of their
importance to the nation’s identity, the nature and meaning of
the war have been the focus of great contention, from 1943 to the
present day. In recent years Italy has taken on a national
evaluation of the more troubling and contested aspects of its role
in the war, including its support of Fascism and collaboration
after 1943, its treatment of Jews and other minorities, deep
national divisions that created a civil war between 1943 and 1945,
and the centrality of war myth to lingering postwar problems.
Scholars of Italian history, literature, and cinema play a
fundamental role in this appraisal, and this volume of essays
attests to the importance of film and literature to the ways in
which changing political, social and cultural imperatives have
altered the war’s memory. These articles expand our understanding
of the shifting phases in national memory by highlighting
significant features of each era’s portrayal of the war.
Contributions come from eight scholars who capture the full variety
of disciplinary and sub-disciplinary approaches that are current
today, including film genre studies, cultural history, gender
studies, Holocaust studies, and the very new fields of emotion
studies, shame theory, and environmental studies. Their innovative
application of questions and methods that speak to important new
subfields in Italian Studies make this volume an invaluable tool
for scholars and their students.
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