Cinema is the Strongest Weapon
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 a...
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| Format: | Online |
| Idioma: | anglès |
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University of Minnesota Press
2024
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| Accés en línia: | ONIX_20240502_9781452965352_12 |
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| _version_ | 1869531106470002688 |
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| author | Fabbri, Lorenzo |
| author_browse | Fabbri, Lorenzo |
| author_facet | Fabbri, Lorenzo |
| author_sort | Fabbri, Lorenzo |
| collection | Directory of Open Access Books |
| description | 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. |
| format | Online |
| id | doab-20.500.12854ir-136644 |
| institution | Directory of Open Access Books |
| language | eng |
| publishDate | 2024 |
| publishDateRange | 2024 |
| publishDateSort | 2024 |
| publisher | University of Minnesota Press |
| publisherStr | University of Minnesota Press |
| record_format | ojs |
| spelling | doab-20.500.12854ir-1366442024-05-02T07:27:33Z Cinema is the Strongest Weapon Fabbri, Lorenzo Performing Arts / Film & Video / History & Criticism 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. 2024-05-02T07:27:25Z 2024-05-02T07:27:25Z 2023 book ONIX_20240502_9781452965352_12 9781452965352 https://directory.doabooks.org/handle/20.500.12854/136644 eng image/jpeg n/a https://muse.jhu.edu/book/112434 University of Minnesota Press 3620704f-efb6-4f73-9ed8-dc20a9d550bc 9781452965352 320 open access |
| spellingShingle | Performing Arts / Film & Video / History & Criticism Fabbri, Lorenzo Cinema is the Strongest Weapon |
| title | Cinema is the Strongest Weapon |
| title_full | Cinema is the Strongest Weapon |
| title_fullStr | Cinema is the Strongest Weapon |
| title_full_unstemmed | Cinema is the Strongest Weapon |
| title_short | Cinema is the Strongest Weapon |
| title_sort | cinema is the strongest weapon |
| topic | Performing Arts / Film & Video / History & Criticism |
| topic_facet | Performing Arts / Film & Video / History & Criticism |
| url | ONIX_20240502_9781452965352_12 |
| work_keys_str_mv | AT fabbrilorenzo cinemaisthestrongestweapon |