By Carlo Celli, Marga Cottino-Jones (auth.)
This booklet is an entire transforming and replace of Marga Cottino-Jones' renowned A Student's advisor to Italian movie (1983, 1993) . This advisor keeps prior variants' curiosity in well known movies and administrators yet can be aware of the preferred movies which accomplished field place of work good fortune one of the public.
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Additional info for A New Guide to Italian Cinema
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. Like 1860 the commonplace of the defense of children provides the rationale for action, although depictions of the near civil war level of violence of the period in Blasetti’s film is limited to a few scenes of street fighting and forcedfeeding of cod liver oil.
The equation of athletics with nationalism made its way to films including depictions of fascist university games in Mario Bonnard’s Io suo padre (1938), — a film adaptation of an Alba De Cespedes novel. There was also interest in the record setting and technological culture. Minister Italo Balbo made a record setting flight by piloting a squadron to Chicago in 1933. Tazio Nuvolari (1892–1953) had a remarkable career as a race car driver in the increasingly popular formula 1 and Mille Miglia automobile rally races around the Italian peninsula.
Indirect portrayals of the regime blurred the manner in which the Fascists attained power and helped to avoid the threat of censorship. Thus more remote historical dramas such as Blasetti’s Ettore Fieramosca (1938), Un avventura di Salvator Rosa/An Adventure of Salvator Rosa (1940) and La cena delle beffe (1941), became one of the principal film forms of the 1930s. The ability to avoid censorship is best seen in Blasetti’s La corona di ferro/The Iron Crown (1941), which was not restricted despite negative allusions to a historically removed tyrant facing a revolt by subjugated peoples.