Unmaking the fascist man: masculinity,film and the transition from dictatorship

This essay examines the recasting and renegotiation of Italian masculinity during the war and during the transition from dictatorship to democracy. Film is my privileged source for understanding the complexities of male experience during this period of dramatic change, but I also rely on war crimes charges, diaries and memoirs. While not explicitly comparative in nature, the essay considers whether we can speak of a ‘crisis of masculinity’ in postwar Italy akin to that diagnosed by historians of postwar Germany and France. Within this broad frame, the essay focuses the experiences and representations of one category of men who evoked particular anxieties about the legacies of defeat and the redemption of Italian men for democratic models of fatherhood and citizenship: veterans, in particular returned prisoners of war. The 1946 film Il bandito (The Bandit, Alberto Lattuada), which I analyze in the last section of the essay, dramatizes the situation of these returned prisoners and the problem of a generation of men raised according to fascist norms that linked masculinity to the performance of aggressive acts.     

War,Modernity, and Motion in the Edison Films of 1898

This essay examines films created by the Edison Company of the US military campaign in the Caribbean in 1898 and their projection and reception in Vaudeville theaters and other similar venues in the larger urban areas of the US. Through an analysis of these films in regards to their production and reception contexts, it discusses relationships between entertainment, nationalism, and colonialism in this early cinema. Features foregrounding technology, production capacity, tourism, and military campaigns in tropical settings are examined in order to explore the blurred boundaries between journalism and entertainment in the context and how specifically the technology of the incipient cinema shaped these perceptions. The venues, in which they were exhibited, situated these war films within larger variety shows including oddities, acrobats, skits, and musical entertainment, together with technological exhibitions involving devices revered for both their destructive and constructive capabilities. It considers, furthermore, how tourism and the possibilities for travel related to the war shaped entertainment and dialogued with public desires regarding American empire and the roles of the Caribbean and, by relation, Latin America in these scenarios. The essay seeks to underscore, finally, how these films, and the war that they attempt to depict, resonated deeply with a type of audience and a corresponding mode of spectatorship that would come to expect an entertaining dimension in journalism.     

Popular Italian cinema,the media,and the economic miracle: rethinking commedia all’italiana

This article seeks to reposition the popular cinematic genre commedia all’italiana within the context of the rapid expansion of the media industries which accompanied Italy's postwar economic miracle. The article looks at three distinct aspects of the relationship between commedia all’italiana and other media. First, it outlines the important role played by the media during the boom in disseminating images of consumer lifestyles, and highlights the way in which commedia all’italiana participated in this process. Second, through a discussion of media appearances by Vittorio Gassman and Nino Manfredi, the article emphasises the extent to which their commedia all’italiana star personas were constructed and circulated in a multimedia context. Finally, it examines how the genre represented other media, focusing in particular on the representation of gender in advertising scenes. Through close readings of commedia all’italiana advertising scenes, the article notes points of continuity with and difference from advertising imagery that was circulating at the time. The article argues that in order to further our understanding of commedia all’italiana and its relationship to Italian society, it is essential to understand the genre's relationship to other media production of the period, which both influenced the comedies’ representations and was influenced by them in turn.     

From crisis to creative critique: the early twenty-first century Mediterranean crossing on stage and screen in works by Teatro delle Albe and Andrea Segre

The article analyses the 2010 play Rumore di Acque [Noise in the Waters] by the Teatro delle Albe and Andrea Segre’s 2014 docufilm Come il peso dell’acqua [Like the Weight of Water] as creative responses to the Mediterranean migrant crisis. In challenging the frozen representation and rhetoric of public reporting and discourse, characterized by recurring images of boats accompanied by the number of arriving or dead migrants, both works propose a critical reading of the migration phenomenon through a focus on individual stories. As the play and the docufilm themselves cross a sea of genres and expressive tools, they also place the migrant at the centre of an interrogation of national paradigms and Western societies. They ultimately call into question the exclusionary politics and policies of the contemporary world and identify in the empathy towards the human quest for freedom and recognition a lively engine of the early twenty-first-century global community, so profoundly marked by movement and displacement.     

Sender,those who have not returned: Carlo Salsa and his ‘Trenches’

Abstract

Carlo Salsa’s book ‘Trenches: A foot-soldier’s tales’ (Trincee. Confidenze di un fante, 1924) was one of many published in Italy after the end of the First World War. It describes the facts of the war as they were lived by officers and soldiers on the Italian front line. The article tries to compare the book with the contemporary war literature in Italy and in Europe, without forgetting the use of the international historiography on the matter. Thus, it is analysed the way an Italian author described to his readers the brutal carnage of the war in years when Fascism was the rising star in Italian policy and the censorship was becoming the more and more a thornily factor for every writer of those days. From this analysis it is possible to note the quality of the volume both from the literary point of view, and its historical value as a reliable testimony of the facts, stepping up our knowledge of what the war literature was for the Italian public opinion after the 1918. As it is possible to note, the book puts under test our notions of the role played by this kind of literature in shaping the Italian political life at the end of the 1910s and at the start of 1920s, when Italy was becoming a country lead by the Fascist regime.     

Nationalism and war commemoration – a Latin American exceptionalism?

Recent scholarship on collective memory and nationalism in Latin America argues that – in sharp contrast to Europe – war commemoration has been of little importance to the memory work of states in the region. The article challenges this claim. A comparative‐historical analysis of school textbooks and school ceremonies in twentieth‐century Mexico, Argentina and Peru reveals that the commemoration of major civil and international wars was central to official national narratives in these countries. The article further identifies important qualitative changes in war commemoration over time, especially with respect to how commemorative discourses portrayed agency and assigned responsibility for military victories and losses. These changes are situated within broader transformations of nationalism and new alignments in the politics of nationhood and memory.     

Muchacho que vas militando: Stardom,Youth Culture,and Politics in Palito Ortega Films (1970–1975)

Scholars of Argentine cinema have engaged extensively with the oppositional politics of the Nuevo Cine of the 1960s and ’70s, but much less with the cinema of that time that offered support to more conservative politics. In the interest of better understanding such support in mass culture, this essay contextualises the films made between 1970 and 1975 that star the pop idol Ramón “Palito” Ortega and examines how his star persona – which had been constructed through television, songs, magazines, and films – evolves through the first half of the decade, asking how this evolution is significant in the period’s turbulent context. In the films, Ortega functions as an avatar for a conservative bourgeois morality by delegitimising practices associated with, first, modern youth culture, then, after 1973, specific politically left practices, while exalting traditional practices that support social hierarchies compatible with the Peronist conservative orthodoxy. The essay finds that this process of politicisation runs from nostalgic nationalist reaction against modern internationalising youth culture to, with the legalisation and return to power of Peronism, examples of matter-of-fact anti-Communism and veiled anti-Semitism in affinity with the conspiracy theories propagated by the Far Right that took power in the pre-dictatorship period.     

Elite migrations in modern Italy: patterns of settlement,integration and identity negotiation

Abstract

Francesco Crispi has often appeared a paradoxical figure. In the earlier part of his life he was a revolutionary republican and a friend of Mazzini. After 1860 he accepted the monarchy, but remained very much a man of the Left and in many ways a quintessential democrat. Yet he ended his career as an authoritarian Prime Minister, a vigorous opponent of the Far Left, and an imperialist, who prorogued parliament and contemplated dispensing with representative government altogether. This article contends that Crispi's career has more coherence than is commonly suggested; it focuses on an important but hitherto neglected aspect of his thinking, namely the problem of how to achieve a sense of national consciousness in Italy through ‘political education’. The article traces the development of the idea of national political education throughout Crispi's career and argues that his two terms as Prime Minister in 1887–91 and 1893–6 can only be fully understood in the context of his long‐standing concern with this problem.     

Echoes of tradition: Liang Qichao’s reflections on the Italian Risorgimento and the construction of Chinese nationalism

This paper examines how Liang Qichao viewed the Italian Risorgimento, with the focus on his reflections on its meanings in the historical contexts of Chinese politics and tradition. It will identify and analyze the many forces and ideas that influenced Liang as he formulated his reflections, especially the timing around the turn of the twentieth century and the discourses of nascent nationalism in Japan where Liang lived in exile. The way Liang created – or recreated – the Italian story demonstrated that the Chinese had finally begun to realize a crucial point about the building of a modern nation. While Britain, the United States, and France were able to build a modern nation by starting from the grass roots and more closely observing Enlightenment ideals, China did not have the luxury or the time to follow the same path. In the age of high imperialism, the weak would simply be weeded out quickly. Without national salvation, there could be no modern nation. National salvation, as exemplified by the Risorgimento, involved maintaining and glorifying the country’s own traditions and core values, which would in turn unify different social segments. Liang and his fellow reformers realized the importance of having simultaneously a national cause, a single political party, and a single leader, instead of having to take separate steps toward awakening. Liang’s awakening paved the way for the unfolding of the great Chinese revolutions of the twentieth century, led first by the Kuomintang and then by the Communists. Following Liang’s track of thinking, they both strived to build – or rebuild – a political centralism.     

Living with Hollywood: British film policy and the definition of ‘nationality’

Focusing upon how a ‘national’ film has been historically defined in Britain, this article traces the history of legal definitions of a ‘British’ film and identifies some of the issues around nationality that these have raised. The article begins with a discussion of the introduction of quotas for ‘British’ films in the 1920s and the adoption of the Eady levy as a means of providing production finance to ‘British’ films in the post-war period. It then goes on to examine the introduction, in response to EU regulations governing the film industry, of a ‘Cultural Test’ for ‘British film’ in 2007 and to consider the way in which eligibility for tax reliefs has depended upon a film qualifying as ‘British’. In assessing whether the Cultural Test may be regarded as constituting a ‘break’ in British film policy in terms of a shift from economic to cultural objectives, the article not only indicates the manner in which cultural and economic objectives have been brought into alignment but also identifies how the definition of the ‘national’ for the purposes of tax relief has been designed to encourage ‘transnational’ Hollywood production within the UK. In doing so, the article also indicates how ‘national’ discourses and practices have continued to inform and structure the economic and cultural dynamics of contemporary ‘British’ cinema as well as engaging with, rather than necessarily standing in opposition to, ‘transnational’ and globalising trends.     

The limits of cultural nationalism: Italian Switzerland from a risorgimento perspective*

ABSTRACT. This article critiques the ‘cultural turn’ in Italian Risorgimento historiography by examining Italian Switzerland, and specifically Ticino. This area paradoxically aided and abetted Italian patriots, especially Giuseppe Mazzini, yet rejected becoming part of the Italian national project. This paradox is heightened by the fact that the vast majority of the Italian nationalist literary canon, as identified by Alberto Maria Banti, was republished in Ticino. The paradox is explained in terms of the conflict between long‐standing traditions of local autonomy and the idea of any form of uniform or centralised control, as originally represented by the Cisalpine Republic and then by both versions (Napoleonic and Piedmontese) of the Kingdom of Italy. However, I also use Banti's cultural concepts to demonstrate the creation of a powerful counter‐myth of Italian Swiss nationalism in the character of William Tell.     

W. B. Yeats,the Abbey Theatre,and the Cinema, 1909–1939

ABSTRACT

Given the significance of new technologies to the literary and visual cultures of the early-twentieth century, it is surprising how little has been written about W. B. Yeats and cinema. Viewed by some scholars as emphatically resistant to what he termed “the leprosy of the modern,” Yeats has long been a difficult writer to situate in relation the progressive impulses of modernity. Building on Kevin Rockett’s identification of the parallels between the work of Abbey Theatre and a nascent Irish cinema culture, this article argues that Yeats played a prominent role in early attempts to develop an indigenous film industry, and to cultivate representations of Ireland on screen abroad. During the period I consider, the Abbey Theatre and the film industry were similarly affected by state censorship programmes and various forms of cultural nationalism. Exploring the Abbey Theatre Minute Books and archival materials discovered in Trinity College Dublin, I suggest that Yeats’s Abbey was a shaping force in Irish cinema history, despite the fact that most attempts to create a national cinema met with limited success.