Suchergebnisse

"The cult of the Duce is the first book to explore systematically the personality cult of the Fascist dictator Benito Mussolini. It examines the factors which informed the cult and looks in detail at its many manifestations in the visual arts, architecture, political spectacle and the media. The conviction that Mussolini was an exceptional individual first became dogma among Fascists and then was communicated to the people at large. Intellectuals and artists helped fashion the idea of him as a new Caesar while the modern media of press, photography, cinema and radio aggrandised his every public act. The book considers the way in which Italians experienced the personality cult and analyses its controversial resonances in the postwar period. Academics and students with interests in Italian and European history and politics will find the volume indispensable to an understanding of Fascism, Italian society and culture, and modern political leadership."--Page [4] of cover

A study of the cultural policies of the Italian communist party following the collapse of fascismand the struggle with popular consumer culture that led to its demise in 1991.

AbstractMussolini is considered in this article as a figure around whom narratives have been developed for a century or more. Several biographies were published shortly after he came to power and many others have appeared in the decades since his death in 1945. This article explores the place of anecdotes in the construction of a legendary Mussolini in the 1920s and in the demystification that marked the period after World War Two. It is shown that early biographies were marked not only by hero worship but also by a commercially driven need to humanize and to amuse. After the war, humanization persisted as former Fascists and associates of Mussolini spread stories and anecdotes that made the dictator appear not as an evil tyrant but as a flawed and fallible human being. The agenda here was to make support for Fascism and its leader forgivable. A comparison of the anecdotes shows that both adulatory and demystificatory ones reserved a place for minor stories orpetite histoire.The resulting image, which placed some emphasis on his sex life, proved influential. It presented a challenge to historians and found its way into the biographical films that were made for cinema and television between the 1970 and the 2000s. It is suggested that, via anecdotes, Mussolini occupied an ambiguous and continuous place in the moral universe of Italians, functioning variously as a political and a gender exemplar.

Italian society after World War II was profoundly affected by the culture of "glamour" that encouraged mass consumption. This culture drew heavily on images and desires created by the American film industry, and it would not have arisen in the absence of American glamour. Over time, however, Italian glamour acquired some important indigenous features, which were economically beneficial for Italy in boosting exports and tourism. Through most of the Cold War, the perceived glamour of Rome captured in the film La Dolce Vita made the city a cosmopolitan crossroads for the rich and famous. Nevertheless, in contrast to the United States, which was the avatar of glamour, Italy did not develop domestic glamour in the full sense of the term.

After 1945 the Italian tradition of feminine beauty was redefined in a democratic context in which women, for the first time, became full citizens. Faced with a far-reaching challenge from Hollywood, traditional criteria of beauty were first strenuously defended and then modified and commercialised. Beauty contests proved to be a vital vehicle in this transition, since they acted both as a forum for the reassertion of Italian beauty and as a vehicle for the displacement of old ideas centred on the face with a new concept based on the eroticised body. This transition became bound up with the ongoing political conflict between Catholics and the left for the moral and political leadership of the country. While both, with different emphases, championed 'natural' at the expense of American-style 'manufactured' beauty, competition led them to engage with, and in some way adopt, the sexualised beauty that was the hallmark of the role of the United States in furnishing new models for the consumer society that would develop rapidly in the later 1950s.