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Memories and Silences Haunted by Fascism
Fascist and colonial legacies have been determinant in shaping how Italian colonialism has been narrated in Italy till the late 1960s. This book deals with the complex problem of public memory and discursive amnesia. The detailed research that underpins this book makes it no longer possible to claim that after 1945 there was an absolute and traumatic silence concerning Italy's colonial occupation of North and East Africa. However, the abiding public use of this history confirms the existence of an extremely selective and codified memory of that past. The author shows that colonial discourse persisted in historiography, newspapers, newsreels and film. Popular culture appears intertwined with political and economic interests and the power inscribed in elite and scientific knowledge. While readdressing the often mistaken historical time line that ignores that actual Italian colonial ties did not end with the fall of Fascism, but in 1960 with Somalia becoming independent, this book suggests that a new post Fascist Italian identity was the crucial issue in reappraisals of a national colonial past.
Marilyn
Galleria (Franco Goy). Polvere di stelle (Mario Passi). Come tu mi vuoi (Duilio Pallottelli). Relazioni pericolose (Franco Goy). I classici (Claudio Carabba). Suicidio imperfetto (Carlo Pizzati). Idolo infranto (Piergiorgio Bellocchio). Le muse americane (Franco Cordelli). Le concorrenti (Giulio Rosati). Perché non mi piace e non mi è mai piaciuta (Oreste del Buono). Hollywood Babilonia (Alvise Sapori). Mia cara bambina (Truman Capote). Vista da lei (Patrizia Carrano). Vista da lui (Alberto Bevilacqua).
Restorations of Empire in Africa
The first full-length study of how Italian colonialism in Africa used the history of Roman imperialism on the continent to legitimise and promote its own imperial endeavours. Agbamu looks at a broad range of cultural documents to examine how the discourse of colonialism as 'the return of Rome' to land rightfully Italian was disseminated.
The Crisis-Woman
Using a rich assortment of scientific, medical, and popular literature, Natasha V. Chang's The Crisis-Woman examines the donna-crisi's position within the gendered body politics of fascist Italy.
Operatic and the Everyday in Postwar Italian Film Melodrama
Italian cinemas after the war were filled by audiences who had come to watch domestically-produced films of passion and pathos. These highly emotional and consciously theatrical melodramas posed moral questions with stylish flair, redefining popular ways of feeling about romance, family, gender, class, Catholicism, Italy, and feeling itself. The Operatic and the Everyday in Postwar Italian Film Melodrama argues for the centrality of melodrama to Italian culture. It uncovers a wealth of films rarely discussed before including family melodramas, the crime stories of neorealismo popolare and opera films, and provides interpretive frameworks that position them in wider debates on aesthetics and ...
New Neapolitan Cinema
The New Neapolitan Cinema provides close analysis of the whole of this movement, which stands as one of the most vital and stimulating currents in contemporary European Cinema.
Italian Studies
Includes the sections "Reviews", "Italian studies published in England", "Academica" and "A chronicle of public lectures, etc.".
Fascist Modernities
This cultural history of Mussolini's dictatorship discusses the meanings of modernity in interwar Italy. The work argues that fascism appealed to many Italian intellectuals as a new model of modernity that would resolve the European crisis as well as long-standing problems of the national past.
Fascist Spectacle
This richly textured cultural history of Italian fascism traces the narrative path that accompanied the making of the regime and the construction of Mussolini's power. Simonetta Falasca-Zamponi reads fascist myths, rituals, images, and speeches as texts that tell the story of fascism. Linking Mussolini's elaboration of a new ruling style to the shaping of the regime's identity, she finds that in searching for symbolic means and forms that would represent its political novelty, fascism in fact brought itself into being, creating its own power and history. Falasca-Zamponi argues that an aesthetically founded notion of politics guided fascist power's historical unfolding and determined the fascist regime's violent understanding of social relations, its desensitized and dehumanized claims to creation, its privileging of form over ethical norms, and ultimately its truly totalitarian nature.
