This the chaos, destruction, and resentment felt in Northern Italy during can be achieved by shifting the focus to the specificity of methods the occupation48 makes it understandable why Palmiro Togliatti, in required to deal with particular aspects of research, with what I call the launching La Rinascita,49 in June of , expresses himself in these regional ontologies of specific forms of knowledge. A theory of reason, he concludes, can only offer a Forni edition, indicated by the abbreviation SF, followed by volume year, and issue criterion of rigor for evaluation and judgment, but it must be flexible number, and page s where appropriate.
All translations are my own except where otherwise indicated. All translations in the text are mine. The role of the Rivista struggles to understand its ontic reality. Finally, it will no longer be di Filosofia, directed by Norberto Bobbio when it restarted publication in , will possible to do any philosophy, any critique of society, without paying be examined in the continuation of the present article.
According to Zbigniew Brzezinski , the estimate of people killed as a direct and indirect consequence of World War II is over 50,, Michele Abbate ff. Peter Carravetta, The Elusive Hermes. Introduction by Eugenio Garin. The journal, which ran to Vol. Though it was not used in a religious sense mento speculativo]. He earned a second laurea in neoidealists. Socrate xiii , from which most of this biographical note is derived, that he studied 21 This long essay was published in two parts in La Cultura, Vol XI, , fasc.
IV, history of philosophy with Giuseppe Zuccante, who published in those very years a ottobre-dicembre, pp. It is also reprinted in Opere 5: Important moments in this biographical sketch are his meeting and Dino Formaggio. In the twenties and thirties proprio nella ribellione al pensiero? At the end of he reached out to the Communist party, participated bibliography on this topic is vast.
For an as the years went on his philosophical production dimished precisely in view of social English translation, see Pareyson Existence, Interpretation, Freedom Sartre Being and Nothingness Part Three. It was Sartre who had addressed Republished in Opere 1: For the first major retrospective on his thought, this relation that the individual can build a concrete rapport with others, whether in see the Atti del Convegno Antonio Banfi e il pensiero contemporaneo Battaglia and terms of language, love, desire, hate, indifference, etc.
For an English while he was writing his Socrates. For a critical Ernest Grassi, Vom Vorrang des Logos, Compare his theoretical description of the person The article was removed in the first issue of Three chapters from this masterwork are available in English in Pareyson, Selected Writings This For the concrete problems on the ground, as it were, see Silvio Lanaro His Dizionario di inhuman, can win only bloody and sterile battles; they can no longer win wars]. Flora Filosofia is an unquestioned classic in the genre. Rivista trimestrale di filosofia contemporanea.
Though writers were more vocal in their condemnation of Fascism, 4 vols. Though the limits of Modern Battaglia, F. Atti del Convegno Antonio Thought had been announced earlier, it is World War Two that signals the beginning Banfi e il pensiero contemporaneo. La Nuova Italia, La filosofia del decadentismo. Turmoil on the Eve of the Davies Group Publishing, Il nuovo idealismo inglese e americano.
I fondamenti teoretici della filosofia secondo Le sorgenti irrazionali del pensiero. La filosofia di Benedetto Croce e la crisi della Historical Materialism and the Economics of Karl Marx. Luciano Landi editore, Esegesi e letture kantiane. La filosofia e la vita spirituale. Introduction to Georg Simmel. Istituto Librario Italiano, Istituto Antonio Banfi, Principi di una teoria della ragione. Fine dei popoli guerrieri. La riforma della dialettica hegeliana. Existentialism is a Humanism.
Yale University Press, Principato, Vom Vorrang des Logos. University of Minnesota Press, La ragione in A. Pico della Mirandola, Giovanni. A cura di F. Davies Group Publishers, Salvatorelli, Luigi and Giovanni Mira. Mondadori, and Esistenzialismo e filosofia italiana.
Dopo la destituzione di Mussolini ad opera dell'intesa tra i gerarchi e Vittorio Emanuele III e la fine del fascismo, l'arte italiana visse un periodo di incertezza e di profondi cambiamenti, diversamente da quanto era accaduto all'ombra delle istituzioni di regime. Queste avevano infatti operato, soprattutto nel corso degli anni Trenta, un certo controllo nei confronti della creazione artistica, riuscendo ad imporre una linea di condotta generale anche nel campo culturale, evidentissima per quel che concerne i mezzi di comunicazione quali radio e cinema.
In due decenni vennero promossi progetti monumentali, la maggior parte a carattere simbolico e scenografico. Una possibile scritti autobiografici. La di battaglia attraverso medium artistici non comuni. Gli anni progetti pittorici, scultorei e architettonici avviati per propagandare della guerra non fecero che approfondire la loro disillusione verso il il messaggio fascista in Italia e all'estero. Nel segni inequivocabili di un passato divenuto scomodo.
Ogni luogo a funzione pubblica, fosse sede di partito, piazza, Quaranta. Dal punto di vista della storia della scultura una portata storica ingombrante. In particolare delle masse fu la casa del Fascio: Il salone d'onore veniva concepito per accogliere partigiane il fantasma del fascismo. Gli apparati decorativi e monumentali erano concentrati in questo locale, dove la scultura faceva da padrona: Il discorso sulla Fig. Per e protrattisi per diversi anni a danno delle Case del Fascio; i la sua realizzazione era stato chiamato un artista affermato a livello busti in marmo o pietra vennero distrutti o danneggiati soprattutto accademico ed internazionale, capace di fissare nel bronzo il momento attraverso la defenestrazione.
Per quel che concerne le opere in bronzo, preciso in cui Mussolini, entrato trionfalmente nell'impianto sportivo, gli antifascisti ne cancellarono ogni traccia grazie all'ausilio di armi da si accingeva a pronunciare il discorso celebrativo di apertura. La sua riportarono danni evidenti circoscritti alla zona del volto, di cui i soli collocazione, il gesto del cavaliere e le circostanze della commissione tratti somatici vennero modificati o cancellati.
Il marmo fu oggetto di diversi atti di a che fare, a prima vista, con il regime. Come nel caso di Adolfo Wildt gli atti offensivi nel , alla presenza del presidente della Confederazione nazionale nei confronti dell'opera di Dazzi determinarono il giudizio critico professionisti e artisti, Emilio Bodrero. I richiami al fascismo erano successivo sullo stesso autore. La sorte toccata agli artisti collaborazionisti nel dall'architetto Alziro Bergonzo Fig. La scultura era sorta fu diversa da caso a caso: Ciononostante, corso del Ventennio l'esigenza di farsi portavoci di valori espressivi gli epuratori non riservarono loro alcun trattamento di favore e inediti, aperti al razionalismo e alla pulizia.
Appare dunque necessario procedere con cautela orrori del nazi-fascisti. Il bronzo presentato dall'udinese Mirko rifugiarsi nella sfera del lutto e della sua elaborazione. Resistenza partigiana ad opporsi all'invasore. Per la nuova tipologia del memoriale ai martiri Nazionale rappresentarono un termine di confronto imprescindibile della guerra partigiana, l'artista scelse di ricorrere ad una tipologia per l'arte all'indomani della caduta del regime.
Fin dalla sua nascita, iconografica da tempo istituzionalizzata, quella della rappresentazione il partito aveva infatti richiamato tra le sue fila numerosi artisti che dell'estremo sacrificio del caduto; a questa venne aggiunta un'ulteriore si fecero portavoci degli ideali antifascisti. Lo studio delle opere scultoree limitato al periodo appare in questa sede prioritario e rappresenta un capitolo essenziale al fine di completare l'analisi della scultura italiana e delle sue contraddizioni all'indomani del periodo fascista e della fine della guerra.
I monumenti alla Resistenza eretti subito dopo il 25 aprile furono davvero pochi ma la loro ricognizione risulta di fondamentale interesse, visto che la loro costruzione coinvolse buona parte degli scultori attivi nel corso del Ventennio e negli anni del conflitto. Si tratta di una commissione del maggio partigiana. In una prima versione in terracotta del bozzetto, il regime. Per la fasciste appena demolite. Tra costoro Luciano Minguzzi, a cui venne commissionata la realizzazione del Monumento al Partigiano e alla Partigiana, in memoria della battaglia antinazista di Porta Lame, combattuta nel novembre del L'opera venne volutamente realizzata con il bronzo ricavato dalla fusione del frammento della statua equestre Fig.
Il termine stesso di ri-nascita presuppone del regime si erano dimostrati, in un primo momento, animati da una una fase di rinnovamento totale maturato, nel caso italiano, dopo furia cieca e distruttrice, durante il secondo governo De Gasperi, la fine di un periodo breve ma drammatico. In precedenza varie figure femminili erano comparse produzione littoria fu necessaria a smuovere le coscienze degli artisti: Gli scultori del dopoguerra.
Fu un appello che non rimase senza risposta: Per una visione esaustiva della liturgia fascista si veda Belli Fu solo a partire dal giugno del che venne istituito il divieto di esercitare una professione senza detenere la tessera del PNF. Durante il periodo fascista i principali eventi espositivi furono la Biennale di Venezia, NOTE a carattere internazionale, e la Quadriennale romana, ideata per presentare la produzi- 1 one italiana di quegli anni.
Le edizioni fasciste della Biennale e la riorganizzazione Per una visione generale del periodo storico si consideri Parlato, Fascisti senza Mus- delle istituzioni culturali italiane sono state studiate da Spadini e De Sabbata solini. Accanto a questi appuntamenti artistici di spicco se ne contano degli altri, fascista attraverso i quali le istituzioni statali si relazionavano con le arti figurative. Sulla riforma operata dal regime negli organi di cultura si veda il consulti il volume di De Micheli e si riferisca a Gualdoni.
De Sessa timare il proprio potere personale: Su Martini si veda Martini, Gian i fasci littori. Durante tali eventi teofanici, gli edifici, i complessi decorativi e celebra- Ferrari, e Comisso Riguardo alla simbologia del Venten- e la monografia della Colombo. Gli scultori del Ventennio avevano Ferrari, e Comisso La testa del bronzo divelta dal monumento equestre bolognese venne 8 Sulle opere antifasciste di Mazzacurati si consideri il catalogo della mostra allestita salvata dalle mani dei tedeschi, nel gennaio del , e sotterrata nel giardino di a Reggio Emilia nel Di certo sentava ferita e menomata, priva di un braccio e della gamba sinistra: Ciononostante, risulta possibile di riqualificazione di Piazza Vittoria; il restauro della statua e la successiva rivaluta- ritrovare alcuni elementi comuni che ci aiutano a delineare con maggiore chiarezza zione quale testimonianza di un momento della storia italiana non hanno incontrato i bersagli privilegiati di questa moderna iconoclastia.
Popolo a Como, il cui il progetto e realizzazione vennero affidati a Giuseppe Terragni 17 Longatti ; Poretti. Si considerino anche i lavori della Misler, di Gualdoni 23, capo di stato, nel Nella medesima occasione, Graziosi aveva realizzato anche nota 18 , e della Sega Storia di Bergamo e dei bergamaschi. Urbanistica, architettura, arte alla causa politica contemporanea, come il Monumento al prigioniero politico ignoto del e Uomini del Lager del Archivio Centrale dello Stato, Print 27 Si veda Alessandrone Perona, et al.
Arte in Italia Vita e pensiero, riconobbe nel il 25 aprile come festa nazionale. Leone Lodi scultore Funerali di 4a classe. Due basamenti senza neppure un De Grada, Raffaele. Mostra di Marino Mazzacurati Luoghi della memoria, memoria dei luoghi nelle regioni alpine oc- Print. Tra diplomazia e arte: Edizioni Medi- Marinetti, Filippo Tommaso. Museo storico in Trento, Martini, Arturo e Mario De Micheli. La scultura lingua morta. Mi- Di Marzio, Mimmo. Muri ai pit- A cura di Giulio Einaudi. Pittura murale e decorazione in Italia Catalogo della Falasca Zamponi, Simonetta.
Lo spettacolo del Fascismo. Soveria mostra [Vicenza, Basilica Palladiana 06 giugno — 26 settembre Mannelli: Ado Furlan Misler, Nicoletta. La via italiana al realismo. La politica culturale nella scultura italiana del Novecento, atti del convegno di studio, artistica del PCI dal al Onofri, Nazario Sauro e Vera Ottani. Dal Littoriale allo stadio: Il culto del littorio: Neri Pozza, Oppo, Cipriano Efisio. Trilussa, il mio segre- Le origini del neofascis- Print.
Istituto Poligraf- cio di Terragni. Pittura murale e decorazione ico dello Stato, Adolfo Wildt e i suoi allievi: Fontana, Melotti, Tulliola Sparagni. Broggini e gli altri. Da Boccioni a Sironi: Arte e ar- Skira, La Casa del fascio di Como. Catalogo ragionato delle sculture. Bologna e il suo stadio. Spadini, Pasqualina e Antonio Maraini.
Utopia e scenario del regime. Urbanistica, architettura, arte e decorazione. Archivio Cen- trale dello Stato, Storia della cultura fascista. Lo stesso discutere un uomo e da cittadino. No, ma per quella legge veri feticci di quella restaurazione culturale italiana detta Riflusso. Ritorniamo ancora una volta a Sciascia, alle frasi lapidarie che chiudono un suo breve ritratto di Savinio: La figura chiave di questo civismo, che E nel , ancora: Il dilettante Stampa e poi incluso in Tutta la vita nel Savinio di gran lunga meno civico o, per meglio dire, restituito alla dalla collina dalla quale godeva lo spettacolo del paesaggio urbano separazione solipsistica tra individuo e collettivo.
Due caratteri dei testi di Savinio invalidano questo dalle religioni. Ascolto ne uscirebbe almeno triplicato: Se conquistano per effetto di luce. Sugli altri continenti no. Come avverte Savinio con una In questo modo la narrazione risorgimentale di un autore similitudine teatrale: Il segno-Europa di mondo: Le premesse nei suoi fondamenti mitologici greci: In questo senso Come i grandi umanisti europei anche utopie, il genere di scrittura che si gioca tutto nello scarto variabile Savinio deve porsi il problema della summa.
Enciclopedia impossibile portatile, maneggevole delle utopie: Mettiamo le cose in chiaro: Nel momento storico come possiamo constatare in un equivalente testuale di questa Europa in cui il presente preme con maggior violenza sulla pagina e sui suoi enciclopedica: In una lettera del 30 aprile non-realista.
La letteratura del O meglio, uno dei suoi avverbi o modi: Nella lettera che nel scrisse per difendere Malaparte intenzioni soggiacenti. A cura di Marco Debenedetti. The Idea of Europe. Letteratura europea e Medio Evo latino. Lettere con Mercurio Candela. Scritti di critica e di istituzioni Bellini, Davide. Dalla tragedia alla biblioteca. Le poetiche e la letterarie. The Myth of Nation in the Twentieth Suzanne Dingee and Jennifer Pudney. Grewe, Andrea, a cura di. Erich Schmidt, Benda, Julien. Il Manifesto corrispondenza Parisot-Savinio Per un profilo di Firenze: Ponte delle Camon, Ferdinando, Il mestiere di poeta.
Istituto della Enciclopedia Italiana, A cura di Fernando Gioviale. Le molte facce di un artista di genio. A cura di Rosanna Bettarini e Milano: Dove va la cultura europea? A cura di G. Duke University Nietzsche, Friedrich. Mauro Maggiorani e Paolo Ferrari. Parisot, Henri, e Alberto Savinio. La Tordi Castria, Rosita. A cura di Giuditta Cinque studi: Savinio, Italo Calvino, Giacomo Debenedetti. Alcesti di Samuele e atti unici.
A cura di Alessandro Tinterri. A cura di Alessandro Tinterri e Paola Italia. Hermaphrodito e altri romanzi. Narrate, uomini, la vostra storia. Archivio Contemporaneo Alessandro Bonsanti. Arte e storia moderna. A cura di Paola Italia. A cura di Leonardo Sciascia. Studi su Alberto Savinio. A cura di Dante Isella. Princeton University Press, Testimonianze e documenti Mio carissimo, tu mi conosci bene; puoi quindi immaginare la mia gioia: Io sono a terra!!! Proprio ieri ero a Roma ho fatto istanza a Tosti al Ministero per un sussidio pronto immediato e adeguato!!
Ma vedi di chiamarmi alla tua segreteria! Ti abbraccio tuo aff. Salvatore Maraffa Abate was a journalist, a poet, an entrepreneur, a publicist and sometime publisher. He deliberate moves aimed at professional and personal survival, or were moved from his native Palermo to Messina, Genova, Milan, Rome, they also the result of a true intellectual and political metamorphosis?
But, as we know, history has not been generous Paul Corner and other contemporary scholars have already underlined with minor figures and Maraffa is not an exception. His profits from his understated new post-war life. And yet, In December , Maraffa issued his first notable magazine, Flirt. Flirt was the ideal mirror of the Sicilian osservare che… egli dimenticava gli indifferenti e i disillusi.
Similarly, in her recent I redenti. Gli intellettuali che vissero due Flirt was not a political publication. It contained poetry, volte. La rivisitazione delle vicende degli uomini che vissero una to women writers10 and its dynamic Direttore, Maraffa Abate, often duplice esistenza provoca accesi dibattiti. Moreover, we should not forget that it could not ignore the power of the new bourgeoisie. Salvo, in particular, notes: Openly obsequious to the fascist regime, as its name suggests, Italia But times were changing and soon the economic power of the fascista tried hard a little too hard, at times to balance itself between Florios in Sicily would come to an end.
Around , Maraffa left a servile and an extremely patriotic attitude towards the autarchic Palermo and headed north, to Genoa and Milan and, eventually, to Rome. From time to sort of periodical, a clever mix of cosmopolitism, patriotism, and time, Italia fascista presented its readers with more artistic content, politics. Futurism and its main features modernity, weighted down by an abundance of percentages and other figures, a energy, innovation and, later, fascism seduced the restless Maraffa telling sign of a too obvious deferential attitude towards the regime.
If and contributed to his radical transformation into a militant journalist. It also meant leaving his trademark notion of a literary particular region or city of the empire where fascist enterprises were and cultural magazine. The years immediately following World War I particularly successful. One of his periodicals, started turning its gaze inwards. By the early s, in the last desperate moments of activities around the world.
With had already appeared in print, as a pamphlet, the previous fall, but the regards to his choice of pseudonym, Flirt readers would remember founder of Futurism allowed Maraffa to publish it as well, an important that Maraffa had been using this pen name for decades. Unfortunately gift for a struggling publication like Italia fascista. On 21 July , Maraffa celebratory.
Incidentally, this initiative aroused offense in the foreword of one of his collections of poetry, Chiarezze: Ma questi giornalisti sono davvero inesauribili nello aspirare e Comm.
Why would the Ente Stampa and the Ministry not use his commitment for its own purposes? Since the fascist press was In , Maraffa was already a Mussolini supporter and more heavily controlled beginning in year of the foundation of the than once defined himself a Sansepolcrista. It was not the case. On the contrary, the Min. Overall, between and , Maraffa received A poet since the Flirt years, Maraffa wrote a number of openly philo- more than fifty thousand Lire Ministero della Cultura Popolare n. Among them, Aquile di Roma and La pelle del He was not alone: For instance, Antonio Favales, the proof of this as early as 6 September Not a young age, especially for richieste e quindi su lettere di ringraziamenti di prammatica in someone plagued by professional and personal troubles.
His personal base alle quali poi carpisce adesioni e ottiene entrature arrivando situation was almost as chaotic as his professional one: Polizia Politica, Report on Maraffa, Savagnone. They had two daughters, bound to become well-known 6 September doppiatrici: Rita and Deddi Savagnone. As del Maraffa che se ne serve per ricevere contributi finanziari; Philip Morgan noted: It was during this period that many Italian 12 September , the Germans had freed Mussolini and had put intellectuals who were active under the regime started on the thorny him at the head of the short-lived new republic.
Like Maraffa, people path that would take them through the end of the war and beyond. Like who had been professional and financial profiteers during the previous Maraffa, many successful figures quietly sailed through this delicate regime must have taken it as a sign that the old ways could resume. The publishing press was not immune to this memory loss: Maraffa depicts himself not like an exploiter of fascist politics and Proveniente dai Fasci Rivoluzionari Interventisti di Milano.
It would — Milano P. Curriculum Vitae his letter to Mezzasoma, and the move to Venice meant that his archive was lost. It is hard to say whether Maraffa had actually been at risk. In the post-war years, this proud fascist biography is excised, leaving Some philo-fascist intellectuals were imprisoned and tried.
Among an embarrassing twenty-year gap: Fogu offers an explanation: He followed many others on the prescrizione. A small price to pay, all things considered. On the contrary, it resumed vigorously, ardua purezza lirica, non abbiano accanto alle poesie, manifestato propelled by a new-found energy: The period immediately after liberation in saw a mushrooming Per trovare poeti che si dichiarano indifferenti alla vita politica, of small publishing houses, some of which survived for only a … bisogna giungere ai minori poeti del romanticismo e del few months, and an increase in book production, despite residual decadentismo.
Ma, appunto, si tratta di poeti minori: At the same time some existing publishers sought che, di fatto, non erano ancora divenuti uomini. XIV—XV to take advantage both of the market opportunities and of the chance for cultural renewal opened up by the liberation. Gundle In the past several years, historians and literary critics tackled and Forgacs the question of Italian intellectuals and their relationship with fascism, but a lot of work still needs to be done on the so-called minor or marginal However, in spite of his efforts, Maraffa did not manage to figures and their participation in the fascist propaganda machine.
This is a sign that, while not openly ENDNOTES promoting it, the ministry did benefit from these apparently irrelevant characters and from their unauthorized propaganda. Italiana per i suoi meriti di giornalista. Later, in Rome, In the early s, Sebastiano Munzone published an he published his own works under the Italia Fascista Editrice label. See Cristina anthology of Sicilian poets.
Soltanto per la insistenza di alcuni editori ha raccolto Viator dolente la sua opera poetica riunita in tre volumi: Ombre, silenzi, armonie con illustrazioni nuovo Israele errante sempre inquieto di Servolini poesie ; Riflessi, Chiarezze poesie. Corselli dal titolo I nostri Capi.
Mangano sent the Duce her article together with a request for a meeting. However, before this little setback, Mangano, like Maraffa, passatista. Ma non vorrai tu office, she was hired at the Ente Stampa: She followed up the in altri giornali e in altri centri: Ti ha good news with a thank you note: Ti prego di agire fulmineamente Cesare. Ti abbraccio con grande affetto, Tuo aff.
The letter is written on Italia fascista reviews in this particular issue. But there are some short reviews of operas and films stationery. Vogliate Esperia, contiene la Poesia dei tecnicismi. Proveniente dal Gruppo Nazionalista Giovanile di Genova. Aderente alla storica continued its irregular publication until By then, Maraffa had almost completely adunata 23 Marzo — Milano P. Archivio Centrale dello Stato. Bruno Maraffa in Duke University Press, Bloomington, Indiana University Press, La stampa del Ventennio: Flirt rivista di splendore Bernabei, Gilberto. Note to Salvatore Maraffa Abate.
Publishers, Writers and Readers. Popolare, Busta , n. Caesar, Gabriella Romani, and Jennifer Burns. Il foglio 12 November Estudios Italianos, Nov. Mariapia Lamberti, Franca Bizzoni. Archivio Centrale dello Italy. Oxford University Press, Letter to Benedetta Cappa. Filippo Di Dino, Chiara. Letter to Nicola De Cesare, 26 September Fascism in Popular Memory.
The Cultural Experience Centrale dello Stato. Cambridge University Corrispondenza Ordinaria]. Maraffa Abate, Salvatore Leodalba. Biblioteca del Vascello, Italia Fascista Editrice, Segreteria Particolare del Duce, quaderni del meridione 87—88 Riviste ottocentesche e storia della critica. La vita quotidiana a Palermo ai tempi del Gattopardo. Filippo Tommaso Marinetti Milan: Gli intellettuali che vissero due volte. Letter to Fernando Mezzasoma. Ministero della Cultura Popolare.
Busta , Serrati, Giacinto Menotti. Archivio Centrale dello Sturzo, Luigi. I mali della politica italiana: La pelle del serpente. Il Primato di Giuseppe Bottai: Italia fascista The fall of Mussolini. Italy, the Italians and the Second World War. Introduction Scholarly studies have often discussed the huge impact of the film Casablanca WB, , directed by Michael Curtiz and produced by Hal Wallis on American media and popular culture.
Many critics have attempted to explain why the film continues to be regarded as one of the most iconic and celebrated Hollywood films of all times. Italian viewers, on the other hand, will most probably be familiar with these lines in their corresponding Italian translation, given that Casablanca has, since its first distribution in Italy in , received theatrical and television release in its dubbed version. We shall also see that, although not so intuitively, when the film and joined her husband Laszlo, whom she had believed to be dead, was finally ready to be released in early , its edition would be without having the chance to explain to Rick the reasons behind her considerably affected by the legacy of Fascism; this in spite of Italy painful decision.
After a series of political gambles with the French being, at that point, a democracy allied with the US. To illustrate this and German police, Rick i. It was in , in fact, even before Casablanca was produced, escape from the menace of the Nazis in Europe find temporary refuge that Warner Bros abandoned the Italian market as a result of the in unoccupied French Morocco. Let us take a step back to observe what happened to the to wait there until the war ends.
Yet there are people in Casablanca distribution of American films in Italy during these critical years. Will the seemingly cynical and selfish on foreign film distribution. A significant European Resistance, a clandestine movement fighting against the Axis number of foreign films by small US companies such as Monogram, powers. As the story unfolds, a few flashbacks reveal that some years Republic, and Grand National would still circulate in Italian cinemas earlier, in German-occupied Paris, Ilsa and Rick had had a romantic after the withdrawal of the Big Four.
Moreover, from the early onwards various laws were enacted. The political and social unrest in the Italian peninsula caused 4, 5, 9 and both the ban on dubbing foreign films abroad and the by the long years of war, sacrifice, deprivation, foreign occupation, dubbing tax to be paid by film distributors art. Because of their pro-interventionist message against the Axis, least until mid Besides, as far as the Italian case was concerned, at the its establishment in the new Roman headquarters. Whether under the beginning of the monopoly laws promulgated during Fascism suggestion of the PWB film section or not, Warner Bros seems to have still formally stood in protection of the Italian internal market against been waiting for the Italian political and social waters to settle before American products.
Distributors established a Psychological Warfare Branch PWB at the Allied might have also decided to wait for Italian film translators and Headquarters in Rome in the building formerly hosting the Ministry experienced voice-actors to prepare a domesticated dubbed version of Popular Culture MCP. Consiglio dei Ministri for permission to release Casablanca in the Archival research has documented that, on March , the Italian commercial film circuit. Stone, head of dubbed version was then authorized, obtaining the obligatory nulla the allied military command in Italy, organised a series of important osta on January 10, Importantly for the present discussion, the Admiral insisted regulations on film censorship art.
This decree banned film scenes, facts and subjects: Otherwise, if the producers or distributors did not agree with the first decision, they could file an appeal and the same film Offensivi del pudore, della morale, del buon costume e della would be reviewed by a second commission. If the second commission pubblica decenza; From the authorization, the the end of the war.
A passage from the document reads: Il film raggiunge una efficacia [sic] tensione spettacolare, films, e. If authorized, the war setting in other words, far from the more crucial battlegrounds film would be distributed in cinemas. In the case of restrictions or of Western Europe. The war was over, Although no document has been found attesting the exact and the fascist regime had been replaced by a democratic political date when the film was translated and re-voiced into Italian, it is very system.
However, the personnel of the previous administration were probable that the Italian edition of Casablanca had been prepared largely maintained at the film office. Although there is no official evidence formed mainly by the popular dubbing directors and actors of the s.
Indeed, if the script had been the Italian film industry, and more specifically in the dubbing or post- presented for approval, and a final script re-submitted after being synchronisation sector. The name of the person in charge of preparing the by the distributors to limit expense of money and effort i. However, recent archival research has requirements, which, as discussed above, were the same as those of revealed that Carlo Silva was credited as the dialogue writer in the Instead of that petty charge Italians in the war, and 3 the representation of Italian characters in you have on him, you can get the film.
The the dialogues in the original version while b. One example in particular is indicative of a moralistic il deserto non occupato. The government, were substituted with a different geographical indication fact that both the re-edited dubbed version and the subtitles do not that wanted to recall the contemporary Chinese Civil War. In particular, were only two isolated cases in the film, but they served a very specific the references to the Fascist presence in Ethiopia and in the fighting purpose: In , you in the film, whether used to criticize Nazi-Fascist ideology or to fought in Spain on the Loyalist side.
The Fascist captain Tonelli is a background character with 3. Italian characters only few lines of dialogue. The first time the Italian officer appears in the film, he censorship directed at controlling the negative representation of introduces himself with vain pomposity see fig. It is well known that during the s unwelcome representations of Italians in film were denied permits for distribution in Fascist Italy: These two characters have short lines of dialogue and must have not been recognised as Italians by either the dubbing personnel or the film commissioners as they do not have an evident Italian connotation or accent in the film.
Their lines were therefore translated according to those in the original script. In the film there are two other characters whose Italianness Fig. While in the original version captain Tonelli switches from speaking 8 Renault scoffs at Tonelli as the latter and the French officer English to Italian, and gives a pompous Fascist salute to the German pass by arguing indistinctly and gesticulating: The original passage has been re-inserted in the victory. After this scene, Tonelli is mainly seen fooling around with The second Italian character is the owner of the club The Blue Parrot, Casselle gesticulating and arguing indistinctly anytime they appear on signor Ferrari.
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Ferrari is renowned in Casablanca for being in charge the scene. The second appearance made by Tonelli see fig.
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Man in the street: He has a monopoly here on the black market. Egli ha quasi tutto il monopolio del Mercato Nero qui. Thank you for the coffee segnore. I shall miss it when we leave Casablanca. The seen adulating any women who passes by a Latin Lover stereotype identity shift also respects quantitative synchronism, that is, each were not already undeniable clues of his Italian characterisation, the dubbed utterance has to contain roughly the same number of syllables final mention of the coffee made by Ilsa 11 leaves no doubt about as the original utterance.
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The rewriting and visual censorship discussed in this section with Ferak was probably suggested by the fact that the character wears are quite significant because they are not a reflection of the historical for most of the film a Moroccan Fez hat see fig. Because of this, they were prone to perceive the lo staiter [sic] in divisa fascista. Casablanca with a different state of mind because for them Casablanca a vietare la circolazione della pellicola in questione: Borrowing with fictional World War II narratives.
Having be modified during the post-production phase. However, this that the American Allies had in the eyes of many Italians. Instead, case is only one of many examples of film censorship directed at the ideological rewriting and censorship of the recent past in the inhibiting the memory of Fascism and of World War II in Italy in the dubbed film is a clear testimony of how Fascist forces were still at post-war period and beyond.
Many by Giuseppe Spataro. Spettacolo e Turismo and placed it under the direction of Franco Libonati. According to the historian, in the US, see Merlock Jackson It was published in the Gazzetta Ufficiale on November earlier in , was now put in charge of the distribution of foreign films in the 3, , No. At the beginning of , this control passed to Einape [Ente 15 nazionale acquisti importazioni pellicole estere] presided over by Giacomo Dusmet.
A complete official list of these releases has not been traced back in SIAE records 6 and other sources because the activity lay in the hands of the PWB.
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Film archives in the US would probably yield some results and paid by foreign film distributors, from the initial 25, Italian lire per dubbed film of shed light on the issue. Moreover, an additional charge of 20, was to be paid on 16 each dubbing for any additional , lire earned by these dubbed films in Italian 20th Century Fox was also dubbing its films in Madrid because a group of cinemas this was fixed between the profit range of 2.
Italian dubbers was blocked in Spain, according to Quargnolo United Artists films could still circulate until 31 December He indicated 58 17 films released in , 83 in , 34 in , 8 in and 2 in Indeed, See for example a short article published in Films in Anteprima in January other archival sources document that, for instance, Universal films could also which documents that on June American dubbings were still circulating in Italian circulate without impediment.
Compare later in the text. The volume of Marco Polo , US, dir. This work focused on the complex interplay between Wise Guys, and Sopranos. Historical 32 archival research revealed striking continuities of concern and practice at the state-run The case of the Fascist officer could have also been grouped in the previous set of film office during the period A new examination of Casablanca was carried out by the Italian film office and 33 registered on September 28, ref.
The distribution company Nettunia until February 5, For an account of how the CDC was born, the particular to Focardi. Many thanks should go here to Luca Portas, film archivist and conservator Casablanca - Italian film censorship file ref. Edge of Darkness La bandiera sventola ancora - Italian film 27 censorship file ref. The case is discussed in Mereu The Dub No. First of the Few Il primo dei pochi - Italian film censorship file ref. Il cattivo tedesco e il bravo italiano: La rimozione film censorship file ref.
Mrs Miniver La signora Miniver - Italian film censorship file ref. Indiana University I trecento della settima - Italian film censorship file ref. Round Up the Usual Suspects: Dagos, Palookas, Romeos, Narration in the Fiction Film. Benjamins Translation Library, forthcoming. Caldiron, Orio, and Matilde Hochkofler. Casablanca and Di Cola, Gerardo.
Le voci del tempo perduto: Storie in movimento, 23 Storia economico-politica del cinema italiano Eco, Umberto. Cult Movies and Intertextual Collage. University of Wisconsin Press. La Cineteca del Friuli, An Aesthetic of the films of the Forties that does not belong among the masterpieces Approach. University of Toronto Press, Piscitello becomes a card-carrying Fascist with the approval of his wife, Rosina Ave Ninchi , and his daughter Delia Scala , and despite the indifference of his anti-Fascist friends. His son, Giovanni Massimo Girotti , is a royal army soldier who takes part in all the wars declared by Mussolini in Ethiopia, Spain, Africa, and Russia.
During one of his furloughs, he becomes engaged to Maria Milly Vitale , the granddaughter of the town pharmacist Aldo Silvani , and marries her. When the Allies land in Sicily and the armistice is proclaimed, Piscitello loses first his son Giovanni, who is murdered by two retreating Germans, and then his job. In this story, the end of the Regime and of the war do not coincide with a renewal of the political class: Even such a brief summary reveals why Anni difficili has aroused strong opposition on all sides of the political spectrum.
The portrayal of Italians that the film conveys does not spare anyone and was quite new in the history of Italian national cinema. Briguglio Film, promoted its restoration. However, it was openly defended by Giulio Andreotti, the undersecretary to the president of 2. The comical and grotesque approach mitigates a specific historical context, freely adapting the plot from a literary the bitterness and skepticism of its message.
Probably for this reason source to talk openly about Italy and its middle class during and Andreotti not only gave a nihil obstat to the film but defended it after Fascism. However, three other reasons should be considered. Zampa uses a quick and easy cinematic as in Bicycle Thieves , than with the political opportunism language that connects immediately with the spectator. It would be depicted in Anni difficili. Zampa inserted archival footage in his film, and dialogue but also from the composition of the frame and the play but not to create the mimesis of reality.
As we see in the sequence between actors In contrast to the war Attention is as a bookish exaltation conveyed by literary myths.
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The third time Piscitello looks at himself is in a real mirror As suggested by Luca Baranelli 11 the debate was especially strong while he is wearing the Blackshirt uniform, and he throws his hat at within the Communist Party because at that time it was easier to his own reflection. His anger stems from the fact that the pharmacist discuss the public controversy surrounding a still-contentious topic has been arrested by the same forces Piscitello represents with his such as Fascism and anti-Fascism through a comedy like Anni difficili uniform.
Then the postcard arrives that draws his son back to the war. The Spectator in the Mirror the character to confront his guilt and cowardice and acknowledge the casualness with which he and many others joined Fascism. According to Vigliacchi, siamo stati tutti. Quelli che battevano le mani in piazza Goffredo Fofi , both Brancati in his short story and Zampa in e quelli che fischiavano nascosti in casa.
Io ho fatto morire mio figlio. On the contrary, they have Piscitello from his slumber and passive acceptance of Fascism. The first time we see Piscitello in front of a is a more powerful mirror of society than the short story. While In , Zampa and Brancati had a broader understanding of he looks at his image reflected in the mirror he tries to wake up his Italy than the writer had in , when his short story was published.
Piscitello wonders aloud how she will be able characters that intensify the satirical dimension of the plot, where to become a serious teacher if she wastes her time reading empty the relationship between Italians and political power, their ability to literature. Their lack of political consciousness is revealed when they church and Fascism more fully. Paradoxically, the censor asked production to remove political and intellectual ineptitude. The in Modica dying along with him. On the other hand, the the Regime is furtive: He pretends to go to war or urinates on his party affiliation card or his black shirt.
Ma il problems within Italian society… but some lack the artistic concentration typical problema interessante del nuovo cinema italiano era vedere se il of [Neorealist] works and may include a mixture of styles or film genres. Others drift away from a cinema of realism, actual or apparent, toward a more traditional linguaggio dei Visconti, De Sica, Rossellini, Castellani riusciva a commercial cinema, the very kind of cinema neorealist theoreticians such as Zavattini proliferare, se da stile poetico riusciva a diventare lingua corrente, sought to avoid at all costs.
He was undersecretary for the president of the Council of Ministers under the in una certa misura, di massa, esprimevano aspetti spiccioli di cabinets led by Giulio Andreotti. Franco Evangelisti, Enrico Fulchignoni. Films that make people laugh and reflect, provoking a certain— Carlo Montuori. Giuliana Bagni even partial—self-consciousness in the spectator, have been few and unmentioned in credits.
Franco Casavola, directed by Ugo Giacomazzi. This is the reason why it is so important to rediscover a Editing: Eraldo da Roma Eraldo Judiconi. Francesco De Feo and Mauro Bolognini. The Italian project 2a-2b: Student's books, workbooks and video activities.
Nuovo progetto italiano 3: English - Italian medical dictionary and phrasebook. Garzanti i grandi dizionari Hazon: Oxford Paravia il dizionario: Oxford Paravia il dizionario inglese-italiano, italiano-ingles. Italia Series DVDs with transcripts. Livello TRE - C1. Listening Comprehension in Italian previous format Italian Through Audio-Visual Media Travolti da un insolito destino nell'azzurro mare d'agosto. Collins easy learning complete Italian: English grammar for students of Italian: Grammatica essenziale della lingua italiana con esercizi: Grammatica essenziale di riferimento della lingua italiana.
A reference grammar of modern Italian. Dall'aerodinamica allla potenza in Formula 1: Great Italian short stories of the twentieth century: