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Fascism in the 20th century in Italy
Benito Mussolini's influence on the nation and people
Benito Mussolini fascist ideology
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Recommended: Fascism in the 20th century in Italy
In 1922, Benito Mussolini became the official head of the Fascist regime in Italy. Mussolini is quoted as saying, “the cinema is the most powerful weapon”, although his government did not immediately interfere with the commercial industry (Bondanella, pg. 22). It was not until 1934, under the director Luigi Freddi, that fascism became greatly involved in Italian cinema. However, after the end of World War II and the fall of fascism, Italians wanted to forget about the Fascist years so many of the films made during this period ignored or lost. Of the more than seven hundred films made during this period, only a tiny amount had any real fascist propaganda. Directors as well wanted to move forward and depict a more realist view of Italian life after World War II. Here starts the beginning of the neorealist movement of Italian cinema based on the everyday conditions of many Italian citizens after the decline of Fascism.
Italian Fascism is deeply imbedded in nationalism because Italian fascist saw it as necessity for a their country to assert its dominance and power in order to avoid acceding to decay (Kallis, pg.41). At first the citizens of Italy loved fascism for they thought it was doing wonders for their country. However, after Benito Mussolini and Adolf Hitler became friends, people started to turn away from their fascist ways. Now, the Italian people did not always dislike Mussolini for he did do some good things for the state. He restored stability after the end of World War I, he solved some of Italy’s economic problem, and also he instituted some welfare programs after the great depression. Fascism also played a major role in the art of cinema. At first, Mussolini was reluctant to back the industry but eventually he chan...
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...ito Mussolini had many effects upon the neorealist movement such as the Institute LUCE and the “Cinema” journal. Telefoni Bianchi, which was prominent during Fascism, was too unrealistic for many of the Italian neorealist directors. Therefore, in a reaction to Telefoni Bianchi, these directors wanted to show more of the gritty and simple side of Italian life after the war. Just like Fascism had an impact on neorealist cinema, neorealism also impacted new movements such as new wave films as well as modern cinema. Pier Paolo Pasolini summed up neorealism when he said “…Passions were so strong right after the War that they really pushed us, they forced us towards this kind of film truth. And this truth was transfigured by poetry, and lyricism. It was because of if its lyricism that Neo-Realism so captured the world because there was poetry in our reality” (Gallagher).
Mussolini’s population policy was a clear effort to exercise his authoritarian control over the people of Italy, regulating the most personal and private details of their lives. In his bid for complete control, he used new laws, propaganda, and sometimes brutal tactics in order for his wishes to be recognized. It is during the 1920’s to the 1940’s that totalitarian control over the state escalated into full dictatorships, with the wills of the people being manipulated into a set of beliefs that would promote the fascist state and “doctrines.”
To understand why Fascism gained such popularity after WWI, it is essential to find a working definition of what Fascism actually is. According to Benito Mussolini and his document What is Fascism, Fascism is “the conception of the state, its character, its duty, and its aim.” It is concerned primarily and totally with the affairs of state rather than those of the individual. The chief duty of a man in a Fascist nation is to do what he can to elevate the state to higher power or assist the state in whatever means necessary in its goals. As is evident to anyone studying this period in history, Fascism “repudiates the doctrine of Pacifism…” meaning that it is most certainly not afraid to use force or war to accomplish its objectives. A Fascist, especially a male Fascist, aspires to be a hero to his country and an ally to the state or nation of which he is a part. A woman ...
Multiple historians have touched on the change in government during Fascist Italy’s reign in World War II. In Italian Fascism: Its Origins and Development, Alexander De Grand clarifies the many promises Benito Mussolini fabricated for the Italian people in order to get them to join his cause such as the improvement on poverty with the rise of a new Roman Empire. De Grand also gives an opposite view, with some citizens seeing Fascism as a “model of efficiency.” In Melton S. Davis’ Who Defends Rome?, t...
Mussolini was considered one of the first modern dictators and he essentially paved the way for Hitler and others to follow. Italy was still in chaos after World War I and showed no signs of recovery. When Mussolini attempted his rise to power, he did it through the political channels being voted in by the people. However, rather than seeking to improve Italy, “Mussolini's new cause became personal power; he sought to place himself in the position of dictator” (Gale). The way in which Mussolini spoke captivated crowds and made Italy fall in love with him. What Mussolini lacked in height he made up for in public speaking, as one of his critics describes, “Yet by the power of his public speaking, by his gestures and tone of voice, he was capable of inspiring tremendous enthusiasm in the crowds who gathered to hear him” (Gale). Italy felt as if Mussolini’s cult of personality was never going to leave, like it seemed as if Big Brother was never going to
Fascism is one of the great political ideology in the 20th century. It is a kind of authoritarian government that, according to Wikipedia, “considers the individual subordinate to the interests of the state, party or society as a whole.” Two of the most successful and to be in the vanguard of fascism government is Italian fascism – led by Benito Mussolini, and Nazi Germany – led by Adolf Hitler. Fascism in Italy and Germany, though in many regards very similar - have the same political ideologies, still have many aspects to them that make them different from each other. Before analysing the similarities and differences between the fascism that emerged in Italy and Germany since the very first of 20th century, it is better to discover - what is fascism.
Fascism is defined as, “an authoritarian and nationalistic right-wing system of government and social organization.” Peter Hyland reports that throughout the 1920s and the 1930s, an economic depression was growing and becoming widespread throughout the world. People were losing faith in their democracies and in capitalism. Leaders who gained power supported powerful militarism, nationalism, and initiated the return of an authoritarian rule. J.R. Oppenheimer says that the rise of fascism and totalitarianism in Europe and Russia instigated a “critical step on the path to war.” In 1922, Benito Mussolini held leadership in Italy, promising a proficient and militaristic nationalistic state. During his control as prime minister, he gained a large group of followers, banned the disparagement of government, and used extreme violence against his enemies within the parliament.
While all this was taking place on the other hand in France a new movement was surging of blanket term devised by critics for some of the French filmmakers of the late fifties and sixties who were impacted by the Italian Neorealism and classical Hollywood films. It initially was never a movement which was officially planned, but the up surging filmmakers were being connected to it because of their self-conscious dismissal of classical filmmaking methods and their spirit of young iconoclasm which was a sample of the European art movies. Many filmmakers were involved with their work as they tried to involve the social and political turmoil’s of the era.
Neorealism had appeared right after the end of World War II and was started by Roberto Rosselini, the father of Neorealism. With his movie, he started a new trend in Italian cinema. (quote) Although it was not specifically “Neorealist”, it was the start of the movement. Some of key characteristics of a neorealist cinema are as follows, “documentary visual style, the use of actual locations--usually exteriors--rather than studio sites, the use of nonprofessional actors, even for principal roles, use of conversational speech, not literary dialogue, avoidance of artifice in editing, camerawork, and lighting in favor of a simple "styless" style” (1.). These characteristics are what embody true neorealist films, such as Bicycle Thief. Although some of these characteristics still linger in Umberto D, the movie that is considered the “death of the neorealism” (2.). It goes without saying that, regardless of the movement these movies are classified under, these are both spectacular contributions to cinema. However it is Bicycle Thief that shows the prime of what neorealist cinema was like during the movement.
It is true that the Italian dictatorship was more conservative in its application than that of Hitler’s reign of terror. But, both the fascist ideas and rulings of these two leaders proved to have some similarities worth mentioning. Both leaders left their countries with an economic and social debt to the Allies, which is still strong in the minds of many older members of the community.
"The manner in which Mussolini and the Fascist Party gained possession of the government was regarded in most foreign circles as an illegal act of violence." (3) As the nation of Italy began to suffer great debts, Mussolini had been summoned by the King to form a government to aid in the economic needs. This marked the birth of the Fascist Party in Italy. In the beginning of his rise to the top, Mussolini was popular amongst his people. His popularity was high, and people began to trust in his judgment and ideas. (4) He was, in essence, saving the people from the turmoil that had ensued the nat...
For example Bicycle Thieves; the neorealist movement itself was a reaction to the horrific standards of living Italy was subjected to due to the disruption of war.
In the period between 1943 and 1950 Italian cinema was dominated by Neorealism which became the most significant film style of post-war Europe. Formation began back in 1936 when propagandists opened modern Cincitta studios and the film school name ‘Centro Sperimentaledi Cinematografia’. Along with the opening of schools such as this was a movement that placed a group of cinematographers under full-year contracts, among them was Carlo Montuori who used his classic techniques in creating ‘Bicycle Thieves’ (1948) one of the most well known films produced during the Neo-Realism movement. Perhaps also one of the most influential directors was Roberto Rossellini who directed Rome Open City at the end of WWII. Many directors and influential films such as this began to change and shape the way Italian films were made and what their relation to society was like.
Another reason that had a significant impact was the belief of fascists that their nations were superior to all other people. “Fascism was the governing ideology of Ge...
At first, the anti-fascist Resistance movement, which dominated the end of World War II, seemed to bring Italy a ray of hope, promising a new era of freedom, reform, and democratic representation. However, this hope was quickly extinguished, as widespread poverty, government corruption, and deep divisions between regions and classes persisted and no true social reform was attained. These harsh conditions were depicted by a group of Italian film directors whose neorealist works have since been celebrated as masterpieces of world cinema. One of the most prominent of these is Vittorio De Sica's The Bicycle Thief. This 1948 film discusses the prevalent themes dominating Italy's social and political history, within the context of the unsettlingly poor post-War urban proletariat.
Before the dawn of Neorealism, Italy was under great turmoil in the early 1920s suffering from major economic crisis, bank failures and a collapsing government, which would also mean a collapse in the Italian film industry and the ‘Silent Era’ of cinema (Roberts, 2005). When Benito Mussolini took control as the 40th Prime Minister of Italy in 1922 the revival of Italian cinema would be once again be relived, but this time ruled under the control and guidance by Mussolini and his fascist government (Bondanella, 2001).