Mussolini S Theatre Book in PDF, ePub and Kindle version is available to download in english. Read online anytime anywhere directly from your device. Click on the download button below to get a free pdf file of Mussolini S Theatre book. This book definitely worth reading, it is an incredibly well-written.
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.
On an April evening in Florence in 1934, before twenty thousand spectators, the mass spectacle 18BL was presented, involving two thousand amateur actors, an air squadron, one infantry and cavalry brigade, fifty trucks, four field and machine gun batteries, ten field-radio stations, and six photoelectric units. However titantic its scale, 18BL's ambitions were even greater: to institute a revolutionary fascist theater of the future, a modern theatre of and for the masses that would end the crisis of the bourgeois theatre. This is the complete story of the event, a colossal failure to critics and spectators alike, which the fascist government took pains to expunge from the annals of the regime. The detailed reconstruction of these various aspects of 18BL serves as a springboard for a larger inquiry into the place of media, technology, and machinery in the fascist imagination, particularly in its links to fascist models of narrative, historiography, spectacle, and subjectivity.
Re-viewing Fascism by Jacqueline Reich,Piero Garofalo Pdf
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 intersection between film stardom and politics is an understudied phenomenon of Fascist Italy, despite the fact that the Mussolini regime deemed stardom important enough to warrant sustained attention and interference. Focused on the period from the start of sound cinema to the final end of Fascism in 1945, this book examines the development of an Italian star system and evaluates its place in film production and distribution. The performances and careers of several major stars, including Isa Miranda, Vittorio De Sica, Amedeo Nazzari, and Alida Valli, are closely analyzed in terms of their relationships to the political sphere and broader commercial culture, with consideration of their fates in the aftermath of Fascism. A final chapter explores the place of the stars in popular memory and representations of the Fascist film world in postwar cinema.
Italian Fascism's Empire Cinema by Ruth Ben-Ghiat Pdf
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.
Author : Giorgio Bertellini Publisher : University of California Press Page : 328 pages File Size : 53,8 Mb Release : 2019-01-15 Category : Performing Arts ISBN : 9780520301368
At publication date, a free ebook version of this title will be available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more. In the post–World War I American climate of isolationism, nativism, democratic expansion of civic rights, and consumerism, Italian-born star Rodolfo Valentino and Italy’s dictator Benito Mussolini became surprising paragons of authoritarian male power and mass appeal. Drawing on extensive archival research in the United States and Italy, Giorgio Bertellini’s work shows how their popularity, both political and erotic, largely depended on the efforts of public opinion managers, including publicists, journalists, and even ambassadors. Beyond the democratic celebrations of the Jazz Age, the promotion of their charismatic masculinity through spectacle and press coverage inaugurated the now-familiar convergence of popular celebrity and political authority. This is the first volume in the new Cinema Cultures in Contact series, coedited by Giorgio Bertellini, Richard Abel, and Matthew Solomon.
Available for the first time in over thirty years, John Krizanc’s internationally acclaimed play redefined the limits of theatre with its haunting tale of art, sex, violence, and political intrigue in Fascist Italy. In the late twenties the poet, war hero, and lothario Gabriele d’Annunzio waits in his opulent villa — a gift from Benito Mussolini in return for his political silence — for the arrival of the artist Tamara de Lempicka, who is to paint his portrait. What follows is a tale of art, sex, violence and the meaning of complicity in an authoritarian state. The action is directed by the reader/audience member, who decides which characters to follow and which narratives to experience. John Krizanc’s masterpiece redefined theatre and won six L.A. Drama Critics Circle Awards, six Dora Mavor Moore Awards, six Drama-Logue Awards, and six Mexican Association of Theatre Critics, and Journalists Awards for its original productions. Now available in a handsome new A List edition, Tamara is an astonishing piece of experimental art and a penetrating look into ethical choices in times of encroaching autocracy.
"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.
Presents 15 essays from an interdisciplinary research project, offering a comparative analysis of the forms and functions of theater in countries governed by fascist and para-fascist regimes. Topics include the cultural politics of fascist governments; the theater of politics in fascist Italy; Mussolini's "Theater of the Masses"; the influence of the Reich's Ministry of Propaganda on German theater and drama; and Jaques Copeau and popular theater in Vichy France. Annotation copyright by Book News, Inc., Portland, OR
Fascism and Resistance in Italian Cinema by DOMINIC. GAVIN Pdf
Italian cinema is one of this country's postwar success stories; the memory of Fascism one of its ongoing challenges. This book proposes to read these two stories together, looking at the treatment of Benito Mussolini's dictatorship in a series of works by Italian filmmakers. The work of Italian directors has much to tell us about the ways in which the memory of the Italian dictatorship was processed by postwar society. The focus on the 1970s, when a climate of political instability made fascism a theme charged with contemporary relevance for postwar society. Luchino Visconti, Federico Fellini, Pier Paolo Pasolini and Bernado Bertolucci were among the directors whose films participated in the re-evaliation of the years of dictatorship in the wake of the late 1960s. These films returned to a historical period which had been elided from collective memory, at a time when fascism and antifascism were also key terms in the political debate. The work of these filmmakers is revealing not only for what it tells us about postwar perceptions of Fascism, but the ways in which democratic society and its values were defined in opposition to the memory of Mussolini's rule.
WINNER OF THE 2021 DUKE OF WELLINGTON MEDAL FOR MILITARY HISTORY A DAILY TELEGRAPH BOOK OF THE YEAR 2020 From an acclaimed military historian, the definitive account of Italy's experience of the Second World War While staying closely aligned with Hitler, Mussolini remained carefully neutral until the summer of 1940. Then, with the wholly unexpected and sudden collapse of the French and British armies, Mussolini declared war on the Allies in the hope of making territorial gains in southern France and Africa. This decision proved a horrifying miscalculation, dooming Italy to its own prolonged and unwinnable war, immense casualties and an Allied invasion in 1943 which ushered in a terrible new era for the country. John Gooch's new book is the definitive account of Italy's war experience. Beginning with the invasion of Abyssinia and ending with Mussolini's arrest, Gooch brilliantly portrays the nightmare of a country with too small an industrial sector, too incompetent a leadership and too many fronts on which to fight. Everywhere - whether in the USSR, the Western Desert or the Balkans - Italian troops found themselves against either better-equipped or more motivated enemies. The result was a war entirely at odds with the dreams of pre-war Italian planners - a series of desperate improvizations against Allies who could draw on global resources and against whom Italy proved helpless. This remarkable book rightly shows the centrality of Italy to the war, outlining the brief rise and disastrous fall of the Italian military campaign. 'It is hard to imagine a finer account, both of the sweep of Italy's wars, and of the characters caught up in them' Caroline Moorhead, The Guardian
Cinema is the Strongest Weapon by Lorenzo Fabbri Pdf
A deep dive into Italian cinema under Mussolini’s regime and the filmmakers who used it as a means of antifascist resistance Looking at Italy’s national film industry under the rule of Benito Mussolini and in the era that followed, Cinema Is the Strongest Weapon examines how cinema was harnessed as a political tool by both the reigning fascist regime and those who sought to resist it. Covering a range of canonical works alongside many of their neglected contemporaries, this book explores film’s mutable relationship to the apparatuses of state power and racial capitalism. Exploiting realism’s aesthetic, experiential, and affective affordances, Mussolini’s biopolitical project employed cinema to advance an idealized vision of life under fascism and cultivate the basis for a homogenous racial identity. In this book, Lorenzo Fabbri crucially underscores realism’s susceptibility to manipulation from diametrically opposed political perspectives, highlighting the queer, Communist, Jewish, and feminist filmmakers who subverted Mussolini’s notion that “cinema is the regime’s strongest weapon” by developing film narratives and film forms that challenged the prevailing ethno-nationalist ideology. Focusing on an understudied era of film history and Italian cultural production, Fabbri issues an important recontextualization of Italy’s celebrated neorealist movement and the structural ties it shares with its predecessor. Drawing incisive parallels to contemporary debates around race, whiteness, authoritarianism, and politics, he presents an urgent examination into the broader impact of visual media on culture and society. Retail e-book files for this title are screen-reader friendly with images accompanied by short alt text and/or extended descriptions.
The Cult of the Duce by Stephen Gundle,Christopher Duggan,Giuliana Pieri Pdf
The cult of the Duce is the first book to explore systematically the personality cult of the Fascist dictator Benito Mussolini, looking in detail at its many manifestations in the visual arts, architecture, political spectacle and the media, and analyses its controversial resonances in the postwar period.
This book offers the first extended analysis of film stardom in Fascist Italy, focusing on the period from the start of sound cinema to the final end of Fascism in 1945. The author examines the development of an Italian star system, evaluates its place in film production and distribution, and explores its relationships with the political sphere and with broader commercial culture. The popular press, along with other evidence, is used to assess the extent of public engagement with film stars. Several major stars, including Isa Miranda, Vittorio De Sica, Amedeo Nazzari and Alida Valli, are closely analysed in terms of their screen performances and professional trajectories, including their fates in the aftermath of the Fascist regime. The book makes an original contribution to the understanding of Italian Fascism and the cinema of the period by tackling a field hitherto neglected, despite it being deemed important enough by the regime to warrant sustained attention and interference. A final chapter explores the place of the stars in popular memory and representations of the Fascist film world in postwar cinema. Stephen Gundle is Professor of Film and Television Studies at the University of Warwick. His books include "Between Hollywood and Moscow: the Italian Communists and the Challenge of Mass Culture, 1943-91" (2000), "Bellissima: Feminine Beauty and the Idea of Italy" (2007), "Mass Culture and Italian Society from Fascism to the Cold War" (2008, with David Forgacs), "Glamour: A History" (2008) and "Death and the Dolce Vita: The Dark Side of Rome in the 1950s" (2011). He is co-editor, with Christopher Duggan and Giuliana Pieri, of "The Cult of the Duce: Mussolini and the Italians" (2013).
