By Carlo Celli, Marga Cottino-Jones
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Extra resources for A New Guide to Italian Cinema (Italian & Italian American Studies)
But the regime’s demands did not equal those of the Nazi government on the German film industry or Soviet demands on Russian filmmakers. On the whole, the regime encouraged Italian directors to make films that depicted Italian life in a positive light. The regime did encourage propaganda-style films with themes promoting Italian colonial exploits such as Augusto Genina’s Lo squadrone bianco/White Squadron (1936) or Alessandrini’s Abuna Messias/Cardinal Messias (1939). However intellectuals including Luigi Chiarini, Umberto Barbaro, and Francesco Pasinetti were able to continue their discussions of film theory in journals like Bianco e nero.
Films from the late 1930s like Mario Camerini’s Il Signor Max (1937) have references to the consumption of embargoed foreign products as unpatriotic. Mussolini’s regime reacted by turning further inward and instituted economic and cultural politics known by the catch word autarchia (autarky or self-sufficiency). The regime policy of national economic self-sufficiency or autarky had already been evoked in attempts to resolve a grain shortage with the Battle of Grain in 1925, even turning some city parks into grain fields.
Each of these members of Garibaldi’s contingent in the film represents a faction of the future Italy: Catholics, republicans, monarchists, and above all the different regions of Italy identified by accent and mannerism. 1 Poster from Alessandro Blasetti’s 1860. 22 Blasetti’s next film Vecchia guardia/Old Guard (1935) has a more contemporary setting but retains themes openly supportive of the regime. The film focuses on a small town split between Fascist and anti-Fascist factions culminating in the death of Mario, a twelve-year-old boy at the hands of anti-Fascists, an event which Blasetti presents as a part of the build up to the Fascist March on Rome in 1922.
A New Guide to Italian Cinema (Italian & Italian American Studies) by Carlo Celli, Marga Cottino-Jones