The purpose of the paper is to debate an aspect of a little-known region of Italian Silent Cinema... more The purpose of the paper is to debate an aspect of a little-known region of Italian Silent Cinema, or the vast production of "dal vero" (actualities), a cinematographic non-fiction genre absolutely predominant (in Italy but not only) until 1912, the year of gradual affirmation of the feature-lenght films (whose advent profoundly changing the landscape of distribution and production).
In this paper I’m proposing to relate the emergence of the phenomenon of growing Italian Nationalism and Irredentism in the first Ten Years of the twentieth century to the interest which certain élites, leading figures of the nation’s wealthy class, had for propaganda carried out with technical images. The case that I’m going to treat is that of an important Italian cultural society: the Dante Alighieri Society, officially politically inert but in fact deeply involved in the coeval institutional life. The origin of SDA is at the end of the unresolved diverted antigermanic (or “fuoriuscitismo”) of some Trento and Trieste’s movements. Carlo Porro, a Milanese aristocratic and an active member of SDA, since 1911 becomes an influential shareholder of a major film production house: the Milano Films. In 1910 Porro founded a film company, the Pro Italia, with the aim of promoting the "real" Italy, and especially Lake Maggiore, with some actualities. But the goal of Pro Italia is not only to reproduce the natural beauties and the spectacular landscapes of Italy but adheres fully, as I will show through my investigation on the sources, to the political nature of anti-Germanic and reactive nazionalization of the places discussed by the irredentistic propaganda: the edges of Lake Garda, Lake Maggiore and the so-called irredenta lands (the area inhabited by Italian-speaking people still living under the Austrian yoke). This line of action is exposed by several members of SDA during congresses and corporate publications, and provides for the use of various forms of propaganda: postcards, touristic magazines that show an aggressive nationalistic programme, and also some apparently neutral events such as outings and sports. The SDA affiliated show a non-marginal interest to the possible uses of a variety of media vehicles, and this interest inevitably lead to Cinema, as this policy will result in pure bellicism putting the roots of Fascism. No coincidence that the SDA will have a crucial role in the production and distribution of "Inferno" (1911), the first Italian feature film: an important event and a film that, according to historical phenomenon of nationalistic Dantism, indicates Dante as the symbol of a national unity to build inside and outside the borders of the Italian Kingdom.
Nel saggio vengono enumerati alcuni vuoti e pieni
rispetto al problema dello studio dell’attore ... more Nel saggio vengono enumerati alcuni vuoti e pieni rispetto al problema dello studio dell’attore cinematografico negli Anni Venti attraverso una serie di questioni ed in particolare i corpus dei film interpretati tra il 1910 ed il 1919 dai mostri sacri del teatro italiano di tradizione - i cosiddetti Grandi attori - ed un caso di studio - Febo Mari, capocomico intellettuale, divo del cinema e regista di grandi attori...
The artistic career of Febo Mari (1881-1939) is a time-sample symptomatic of deep ties establishe... more The artistic career of Febo Mari (1881-1939) is a time-sample symptomatic of deep ties established between the growing film publishing and the Italian theatrical production system in the 1910s. In this article I will focus on three important milestones in the career of Febo Mari: the theatrical training, the debut in cinema, and the height of his popularity between 1916 and 1919.
The purpose of the paper is to debate an aspect of a little-known region of Italian Silent Cinema... more The purpose of the paper is to debate an aspect of a little-known region of Italian Silent Cinema, or the vast production of "dal vero" (actualities), a cinematographic non-fiction genre absolutely predominant (in Italy but not only) until 1912, the year of gradual affirmation of the feature-lenght films (whose advent profoundly changing the landscape of distribution and production).
In this paper I’m proposing to relate the emergence of the phenomenon of growing Italian Nationalism and Irredentism in the first Ten Years of the twentieth century to the interest which certain élites, leading figures of the nation’s wealthy class, had for propaganda carried out with technical images. The case that I’m going to treat is that of an important Italian cultural society: the Dante Alighieri Society, officially politically inert but in fact deeply involved in the coeval institutional life. The origin of SDA is at the end of the unresolved diverted antigermanic (or “fuoriuscitismo”) of some Trento and Trieste’s movements. Carlo Porro, a Milanese aristocratic and an active member of SDA, since 1911 becomes an influential shareholder of a major film production house: the Milano Films. In 1910 Porro founded a film company, the Pro Italia, with the aim of promoting the "real" Italy, and especially Lake Maggiore, with some actualities. But the goal of Pro Italia is not only to reproduce the natural beauties and the spectacular landscapes of Italy but adheres fully, as I will show through my investigation on the sources, to the political nature of anti-Germanic and reactive nazionalization of the places discussed by the irredentistic propaganda: the edges of Lake Garda, Lake Maggiore and the so-called irredenta lands (the area inhabited by Italian-speaking people still living under the Austrian yoke). This line of action is exposed by several members of SDA during congresses and corporate publications, and provides for the use of various forms of propaganda: postcards, touristic magazines that show an aggressive nationalistic programme, and also some apparently neutral events such as outings and sports. The SDA affiliated show a non-marginal interest to the possible uses of a variety of media vehicles, and this interest inevitably lead to Cinema, as this policy will result in pure bellicism putting the roots of Fascism. No coincidence that the SDA will have a crucial role in the production and distribution of "Inferno" (1911), the first Italian feature film: an important event and a film that, according to historical phenomenon of nationalistic Dantism, indicates Dante as the symbol of a national unity to build inside and outside the borders of the Italian Kingdom.
Nel saggio vengono enumerati alcuni vuoti e pieni
rispetto al problema dello studio dell’attore ... more Nel saggio vengono enumerati alcuni vuoti e pieni rispetto al problema dello studio dell’attore cinematografico negli Anni Venti attraverso una serie di questioni ed in particolare i corpus dei film interpretati tra il 1910 ed il 1919 dai mostri sacri del teatro italiano di tradizione - i cosiddetti Grandi attori - ed un caso di studio - Febo Mari, capocomico intellettuale, divo del cinema e regista di grandi attori...
The artistic career of Febo Mari (1881-1939) is a time-sample symptomatic of deep ties establishe... more The artistic career of Febo Mari (1881-1939) is a time-sample symptomatic of deep ties established between the growing film publishing and the Italian theatrical production system in the 1910s. In this article I will focus on three important milestones in the career of Febo Mari: the theatrical training, the debut in cinema, and the height of his popularity between 1916 and 1919.
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In this paper I’m proposing to relate the emergence of the phenomenon of growing Italian Nationalism and Irredentism in the first Ten Years of the twentieth century to the interest which certain élites, leading figures of the nation’s wealthy class, had for propaganda carried out with technical images. The case that I’m going to treat is that of an important Italian cultural society: the Dante Alighieri Society, officially politically inert but in fact deeply involved in the coeval institutional life. The origin of SDA is at the end of the unresolved diverted antigermanic (or “fuoriuscitismo”) of some Trento and Trieste’s movements. Carlo Porro, a Milanese aristocratic and an active member of SDA, since 1911 becomes an influential shareholder of a major film production house: the Milano Films. In 1910 Porro founded a film company, the Pro Italia, with the aim of promoting the "real" Italy, and especially Lake Maggiore, with some actualities. But the goal of Pro Italia is not only to reproduce the natural beauties and the spectacular landscapes of Italy but adheres fully, as I will show through my investigation on the sources, to the political nature of anti-Germanic and reactive nazionalization of the places discussed by the irredentistic propaganda: the edges of Lake Garda, Lake Maggiore and the so-called irredenta lands (the area inhabited by Italian-speaking people still living under the Austrian yoke).
This line of action is exposed by several members of SDA during congresses and corporate publications, and provides for the use of various forms of propaganda: postcards, touristic magazines that show an aggressive nationalistic programme, and also some apparently neutral events such as outings and sports.
The SDA affiliated show a non-marginal interest to the possible uses of a variety of media vehicles, and this interest inevitably lead to Cinema, as this policy will result in pure bellicism putting the roots of Fascism. No coincidence that the SDA will have a crucial role in the production and distribution of "Inferno" (1911), the first Italian feature film: an important event and a film that, according to historical phenomenon of nationalistic Dantism, indicates Dante as the symbol of a national unity to build inside and outside the borders of the Italian Kingdom.
rispetto al problema dello studio dell’attore cinematografico negli Anni Venti attraverso una serie di questioni ed in particolare i corpus dei film interpretati tra il 1910 ed il 1919 dai mostri sacri del teatro italiano di tradizione - i cosiddetti Grandi attori - ed un caso di studio - Febo Mari, capocomico intellettuale, divo del cinema e regista di grandi attori...
growing film publishing and the Italian theatrical production system in the 1910s. In this article I will focus on three
important milestones in the career of Febo Mari: the theatrical training, the debut in cinema, and the height of his popularity between 1916 and 1919.
In this paper I’m proposing to relate the emergence of the phenomenon of growing Italian Nationalism and Irredentism in the first Ten Years of the twentieth century to the interest which certain élites, leading figures of the nation’s wealthy class, had for propaganda carried out with technical images. The case that I’m going to treat is that of an important Italian cultural society: the Dante Alighieri Society, officially politically inert but in fact deeply involved in the coeval institutional life. The origin of SDA is at the end of the unresolved diverted antigermanic (or “fuoriuscitismo”) of some Trento and Trieste’s movements. Carlo Porro, a Milanese aristocratic and an active member of SDA, since 1911 becomes an influential shareholder of a major film production house: the Milano Films. In 1910 Porro founded a film company, the Pro Italia, with the aim of promoting the "real" Italy, and especially Lake Maggiore, with some actualities. But the goal of Pro Italia is not only to reproduce the natural beauties and the spectacular landscapes of Italy but adheres fully, as I will show through my investigation on the sources, to the political nature of anti-Germanic and reactive nazionalization of the places discussed by the irredentistic propaganda: the edges of Lake Garda, Lake Maggiore and the so-called irredenta lands (the area inhabited by Italian-speaking people still living under the Austrian yoke).
This line of action is exposed by several members of SDA during congresses and corporate publications, and provides for the use of various forms of propaganda: postcards, touristic magazines that show an aggressive nationalistic programme, and also some apparently neutral events such as outings and sports.
The SDA affiliated show a non-marginal interest to the possible uses of a variety of media vehicles, and this interest inevitably lead to Cinema, as this policy will result in pure bellicism putting the roots of Fascism. No coincidence that the SDA will have a crucial role in the production and distribution of "Inferno" (1911), the first Italian feature film: an important event and a film that, according to historical phenomenon of nationalistic Dantism, indicates Dante as the symbol of a national unity to build inside and outside the borders of the Italian Kingdom.
rispetto al problema dello studio dell’attore cinematografico negli Anni Venti attraverso una serie di questioni ed in particolare i corpus dei film interpretati tra il 1910 ed il 1919 dai mostri sacri del teatro italiano di tradizione - i cosiddetti Grandi attori - ed un caso di studio - Febo Mari, capocomico intellettuale, divo del cinema e regista di grandi attori...
growing film publishing and the Italian theatrical production system in the 1910s. In this article I will focus on three
important milestones in the career of Febo Mari: the theatrical training, the debut in cinema, and the height of his popularity between 1916 and 1919.