By S. Craig
Cinema After Fascism considers how postwar eu motion pictures look ambivalently backward from the postwar interval to the fascist period and delves into matters of gender certainties and spectatorship. during this interval of movie, common constructions of epistemology and historiography reappear as ghostly imprints on postwar celluloid, and the remnants of fascist subjectivity stroll the streets of postwar towns. via new views at the movies of Roberto Rossellini, Billy Wilder, Carol Reed, Alain Resnais, and Marguerite Duras, this booklet examines the methods in which filmmakers recognize the fascist earlier. Siobhan S. Craig unearths that the makes an attempt to reconfigure the idioms of cinema are by no means absolutely naturalized and stay hugely precarious buildings.
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Extra resources for Cinema after Fascism: The Shattered Screen (Studies in European Culture and History)
Bits of overheard dialogue among the Wehrmacht contingent convey that they, too, share the same culture of spectatorship, shaped by Hollywood romance and boys’ adventure movies: “One could really get romantic here, if not for the Americans. . ” Errol Flynn flickers momentarily to life on the lava fields of Mt. Etna as it becomes clear that the German soldiers see themselves as swashbucklers in a similar mode. ” . . ” The references to a shared filmic culture (shared by the fictional GIs, the fictional Wehrmacht, and the spectator of Paisà) are obvious—two films that come immediately to mind are Treasure Island and The Prisoner of Zenda.
Like the shirtless young men, it seems harmless and slightly ineffectual, its contours softened and its menace blunted. In the opening sequence of L’uomo della croce, men and machine are indeed parallel. The fascist slogan, unifying man and machine, is fulfilled, but ironically, as men and their tank share a pastoral idyll, sidelined from their military role. All of this changes, however, as the long-awaited tank squadron returns from battle. The soldiers hear the engine noise and leap up to meet the tanks, immediately acquiring purpose, energy, and military bearing, hitherto noticeably absent.
Here, as in the opening of the Sicilian segment, there is no establishing shot or opportunity to orient ourselves spatially—we are plunged immediately into the middle of a confusing, chaotic street scene; this is very different from the deserted volcanic slopes that open the Sicilian segment, but the effect of disorientation is similar. ” declaims a fire-eater. This opening line of dialogue is, like the “newsreel” segment, also a bridge of sorts—it links the soldiers of Sicily to the teeming streets of Allied-occupied Naples.
Cinema after Fascism: The Shattered Screen (Studies in European Culture and History) by S. Craig