By Carlo Celli, Marga Cottino-Jones
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Extra resources for A New Guide to Italian Cinema (Italian & Italian American Studies)
When university professors were required to sign a loyalty oath and join the party, few gave up their chairs and refused. Some intellectuals who rose to prominence in the postwar period have subsequently been embarrassed by the reappearance of sycophantic letters to Mussolini or by evidence of concrete ties to the regime, although many cultural figures including Luigi Pirandello, Giuseppe Ungaretti and Carlo Emilio Gadda were at times supporters of the regime during periods of the ventennio. Fascism originally had utopian and anti-bourgeois elements, held over from Mussolini’s days as a Socialist revolutionary.
18 Sound allowed the Italian film industry, like many industries in Europe suffering from competition with Hollywood, to offer a product in a national tongue. The themes and style of the contemporary Italian national cinema truly begin in this period and the regime’s attitudes toward the cinema changed accordingly. By the mid-1930s, Mussolini was identified with a placard proclaiming that the cinema was l’arma più forte (the strongest weapon), although it has not been established that Mussolini ever actually made the statement.
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. The Battle of the Lira and the freezing of exchange rates for the Italian lira with major currencies such as the British Sterling at quota novanta (ninety lire per British pound) and the Battle of Gold were further autarkic attempts to stop the rienforce the national currency, the lira.
A New Guide to Italian Cinema (Italian & Italian American Studies) by Carlo Celli, Marga Cottino-Jones