This paper deals with the history of Fascist Propaganda as an issue overlooked by the Italian historians. This was due both to an old-fashioned conception of the historical work by the Italian historians, and both to the difficulty of recruiting the audio-visual sources within the scientific status of Historiography. There was no doubt that the cinema propaganda has been one of the pillars of the fascist Regime’s search of the consent, as it was highlighted in studies by P.V. Cannistraro and M. Argentieri. Nevertheless this historical matter has been deepened within the Film studies instead that in the Historical studies. In the seventies there has been a turning point in the studies on the fascist cinema, marked by a strong revaluation of it, in parallel with a reduction of the Neorealism cinema. It was a debate marked by a strongly ideological climate. In the following decades, the fascist cultural, and social project was reconsidered in different way, in reference to the category of “modernity”, proposed by historians such as V. de Grazia, and to the analogous tendencies in the other countries of the West. Many essays and history books have focused on the various aspects of fascist political propaganda and its most important figures, such as Luigi Freddi.

IL CINEMA E LA PROPAGANDA FASCISTA

TAVIANI, ERMANNO
2014

Abstract

This paper deals with the history of Fascist Propaganda as an issue overlooked by the Italian historians. This was due both to an old-fashioned conception of the historical work by the Italian historians, and both to the difficulty of recruiting the audio-visual sources within the scientific status of Historiography. There was no doubt that the cinema propaganda has been one of the pillars of the fascist Regime’s search of the consent, as it was highlighted in studies by P.V. Cannistraro and M. Argentieri. Nevertheless this historical matter has been deepened within the Film studies instead that in the Historical studies. In the seventies there has been a turning point in the studies on the fascist cinema, marked by a strong revaluation of it, in parallel with a reduction of the Neorealism cinema. It was a debate marked by a strongly ideological climate. In the following decades, the fascist cultural, and social project was reconsidered in different way, in reference to the category of “modernity”, proposed by historians such as V. de Grazia, and to the analogous tendencies in the other countries of the West. Many essays and history books have focused on the various aspects of fascist political propaganda and its most important figures, such as Luigi Freddi.
fascismo; Cinema; propaganda
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Utilizza questo identificativo per citare o creare un link a questo documento: http://hdl.handle.net/20.500.11769/16918
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