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Somewhere in Italy: la guerra italiana nelle immagini dei U.S. Army Signal Corps, 1943-1945
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Il valore aggiunto della rete nell'analisi storica del cinema : il caso del portale Luce
No full textI volti dell'uomo nuovo. Cinema e potere nel progetto totalitario fascista
No full textAttraverso la realizzazione storica del suo progetto totalitario il fascismo italiano si propose una trasformazione antropologica dei cittadini e la promozione di un “uomo nuovo”; il saggio analizza il disegno politico mussoliniano mettendolo in relazione con le scelte del regime in campo cinematografico, che risultano coerenti con gli obiettivi totalitari. In Italia l’”uomo nuovo” assunse sullo schermo diverse configurazioni e il saggio vuole sottolineare come il virtuoso borghese che compare in molti film del Ventennio sia stato altrettanto funzionale al regime del cittadino-soldato immaginato da Mussolini.Through the historical realization of its totalitarian project, Italian fascism proposed an anthropological transformation of citizens and the promotion of a “New Man”; the essay analyzes Mussolini's political design by relating it to the choices of the regime in the field of cinema, which are consistent with totalitarian aims. In Italy the “New Man” took on different configurations on the screen and the essay wants to emphasize how the honest bourgeois who appears in many films of the period was as functional to the regime as the citizen-soldier imagined by Mussolini
Public and Private: The Image of the Italian Family during the Years of the Economic Boom
No full textLa visione della famiglia del boom economico italiano tra cinema non fiction e fotografia[...
Nascondere mostrando. L'invenzione della moderna propaganda visiva in Italia prima del fascismo
No full textScholars have been examining the question of the propaganda of the Fascist regime (and its relationship with censorship) for some decades now, yet its origins remain somewhat unclear. First of all, the essay aims to show that, from the methodological point of view, analysis of issues of this kind requires an open dialogue between historical disciplines and the various branches of visual studies.
The underlying hypothesis is that the traumatic experience of the Great war generated a new “observer” of the images used in communication; one that replaced nineteenth-century confidence in the reproduction of reality (photographic and in film) with a totally new willingness to believe in the “optical” messages packaged by political propaganda. In Italy it became one of the conditions that would lead to the affirmation of a new political regime that, thanks to a studied balance between censorship and propaganda, was able to garner mass consensus – at least for a certain period
LA FONDAZIONE ARCHIVIO AUDIOVISIVO DEL MOVIMENTO OPERAIO E DEMOCRATICO: IL PATRIMONIO E LE ATTIVITÀ DI PROMOZIONE DELLA CINEMATOGRAFIA NONFICTION
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