Skip to main content

Cinema Is the Strongest Weapon: Cinema Is the Strongest Weapon

Cinema Is the Strongest Weapon
Cinema Is the Strongest Weapon

  • Show the following:

    Annotations
    Resources

  • Adjust appearance:

    Font
    Font style
    Color Scheme
    Light
    Dark
    Annotation contrast
    Low
    High
    Margins
  • Search within:
    • Notifications
    • Privacy
  • Project HomeCinema Is the Strongest Weapon
  • Projects
  • Learn more about Manifold

Notes

table of contents
  1. Cover
  2. Title Page
  3. Copyright Page
  4. Contents
  5. Preface and Acknowledgments. Fascism and Us
  6. Introduction. Race War through Other Media
  7. 1. The Government of the Ungovernable: Race and Cinema in Early Italian Film Novels
  8. 2. Workers Entering the Military-Industrial Complex: Pirandello’s and Ruttman’s Acciaio
  9. 3. White, Red, Blackshirt: Blasetti’s Ecofascist Realism
  10. 4. The Shame of Escapism: Camerini’s Anthropological Machines
  11. 5. The White Italian Mediterranean: De Robertis, Rossellini, and Fascism’s Melodramatic Imperialism
  12. 6. De Sica’s Genre Trouble: Laughing Fascism Away?
  13. 7. Queer Antifascism: Visconti’s Ossessione and the Cinema Conspiracy against Ethno-Nationalism
  14. Conclusion. On Neorealism: The Ends of the Resistance and the Birth of an Area
  15. Notes
  16. Index
  17. About the Author

Cinema Is the Strongest Weapon

Annotate

Next Chapter
Title Page
PreviousNext
This book is freely available in an open access edition thanks to TOME (Toward an Open Monograph Ecosystem)—a collaboration of the Association of American Universities, the Association of University Presses, and the Association of Research Libraries—and the generous support of the College of Liberal Arts at the University of Minnesota, Twin Cities. Learn more at the TOME website, available at openmonographs.org.

Chapter 7 was originally published as “Queer Neorealism: Luchino Visconti’s Ossessione and the Cinema Conspiracy against Fascism,” Screen 60, no. 1 (Spring 2019): 1–24. Portions of the Conclusion are adapted from “Neorealism as Ideology: Bazin, Deleuze, and the Avoidance of Fascism,” The Italianist 35, no. 2 (2015): 182–201, https://doi.org/10.1179/0261434015Z.000000000115.

Copyright 2023 Lorenzo Fabbri

Cinema Is the Strongest Weapon: Race-Making and Resistance in Fascist Italy is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License (CC BY-NC-ND 4.0)
Powered by Manifold Scholarship. Learn more at
Opens in new tab or windowmanifoldapp.org