eBook downloads, eBook resources & eBook authors
This is the first comprehensive account of the diversity and complexity of censorship practices in Italy under the Fascist dictatorship. Through archival material it shows how practices of censorship were used to effect regime change, to measure and to shape public opinion, behaviour and attitudes in the twenty years of Mussolini's dictatorship.
The history of totalitarian states bears witness to the fact that literature and print media can be manipulated and made into vehicles of mass deception. Censorship and Literature in Fascist Italy is the first comprehensive account of how the Fascists attempted to control Italy's literary production. Guido Bonsaver looks at how the country's major publishing houses and individual authors responded to the new cultural directives imposed by the Fascists. Throughout his study, Bonsaver uses rare and previously unexamined materials to shed light on important episodes in Italy's literary history, such as relationships between the regime and particular publishers, as well as individual cases involving renowned writers like Moravia, Da Verona, and Vittorini. Censorship and Literature in Fascist Italy charts the development of Fascist censorship laws and practices, including the creation of the Ministry of Popular Culture and the anti-Semitic crack-down of the late 1930s. Examining the breadth and scope of censorship in Fascist Italy, from Mussolini's role as 'prime censor' to the specific experiences of female writers, this is a fascinating look at the vulnerability of culture under a dictatorship.
Recent work on the cultural history of modern Italy has radically challenged received opinion about the relationship of state and culture during the twentieth century. In this rich interdisciplinary book the complex interactions and negotiations of control arising from this state-culture connection are elucidated by way of case studies of major authors, filmmakers and artists and their encounters with censorship, patronage and other forms of direct state intervention; analytical surveys of different periods, media and culture industries; and through an examination of such key issues as Fascist censorship, the Resistance and its imprint in the collective memory, the introduction of television in the 1950s, and 1970's terrorism.
Fascist Ideology is a comparative study of the expansionist foreign policies of fascist Italy and Nazi Germany from 1922-1945. Fascist Ideology provides a comparative investigation of fascist expansionism by focusing on the close relations between ideology and action under Mussolini and Hitler. With an overview of the ideological motivations behind fascist expansionism and their impact on fascist policies, this book explores the two main issues which have dominated the historiographical debates on the nature of fascist expansionism: whether Italy's and Germany's particular expansionist tendancies can be attributed to a set of generic fascist values, or were shaped by the long term, uniquely national ambitions and developments since unification; whether the pursuit of expansion was opportunistic or followed a grand design in each case.
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.
A vividly written portrait of Benito Mussolini, whose passion for the theatre profoundly shaped his ideology and actions as head of fascist Italy This consistently illuminating book transforms our understanding of fascism as a whole, and will have strong appeal to readers in both theatre studies and modern Italian history.
Anglophobia in Fascist Italy depicts how the Fascist regime disseminated its particular image of Great Britain, consistent with its own ideological imperatives, and puts to the test effectiveness of this messaging among the Italian people.
"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." -- Book cover.
The recent rise in Europe of extreme right-wing political parties along with outbreaks of violent nationalist fervor in the former communist bloc has occasioned much speculation on a possible resurgence of fascism. At the polemical level, fascism has become a generic term applied to virtually any form of real or potential violence, while among Marxist and left-wing scholars discredited interpretations of fascism as a "product of late capitalism" are revived. Empty of cognitive significance, these formulas disregard the historical and philosophical roots of fascism as it arose in Italy and spread throughout Europe. In Giovanni Gentile: Philosopher of Fascism, A. James Gregor returns to those roots by examining the thought of Italian Fascism's major theorist.In Gregor's reading of Gentile, fascism was-and remains-an anti-democratic reaction to what were seen to be the domination by advanced industrial democracies of less-developed or status-deprived communities and nations languishing on the margins of the "Great Powers." Sketching in the political background of late nineteenth-century Italy, industrially backward and only recently unified, Gregor shows how Gentile supplied fascism its justificatory rationale as a developmental dictatorship. Gentile's Actualism (as his philosophy came to be identified) absorbed many intellectual currents of the early twentieth century including nationalism, syndicalism, and futurism and united them in a dynamic rebellion against new perceived hegemonic impostures of imperialism. The individual was called to an idealistic ethic of obedience, work, self-sacrifice, and national community. As Gregor demonstrates, it was a paradigm of what we can expect in the twenty-first century's response, on the part of marginal nations, to the globalization of the industrialized democracies. Gregor cites post-Maoist China, nationalist Russia, Africa, and the Balkans at the development stage from which fascism could grow.The f
In the Mother of Invention in their analyses of literature, painting, sculptures, film, and fashion, the contributors explore the politics of invention articulated by these women as they negotiated prevailing ideologies.
