By Daniela Treveri Gennari
Through a comparative strategy of present theories built on ideology and an research of respectable files from the Vatican and the U.S. division of country, the ebook investigates the decisive position that American construction businesses performed within the improvement of the Italian movie and their hyperlinks to the Vatican. This research evaluates how the Italian construction and distribution industries happy the yankee political and financial pursuits. American political and cultural ideology of the post-1945 period, is in comparison with the Roman Catholic ideology which will check their cultural propaganda. this is often by way of stories of the jobs performed via key members, corresponding to Giulio Andreotti, and associations comparable to ANICA and A.G.I.S. excited about formulating the guidelines and laws that affected the creation and distribution of yankee and Italian movies within the post-1945 period, in addition to the involvement of the Roman Catholic Church during this process.
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Additional resources for Post-War Italian Cinema: American Intervention, Vatican Interests
The position of the Vatican, in relation to the dangers of the cinema, which in his Cinema educativo e no (1953) Carmelo Cottone had questioned widely, did not change much in the following half century. On 9 November 2002 Pope John Paul II made a speech in which he defi ned media in general as ‘extremely powerful instruments, which, if misused, can produce devastating effects on the conscience and consciousness of the people and in society’14. 24 Post-War Italian Cinema The two speeches on Il Film ideale, that Pope Pius XII made to representatives of the cinema world, offered a much more sophisticated analysis of the film industry and the role of cinema in modern society.
This was often requested by bishops and Catholic representatives in post-war Italy, embodying a form of censorship which came from within the Catholic establishment and affected objectionable films. The importance and power of cinema had been already stressed by the Pope in two significant documents: a speech made to the members of the Motion Picture Executive Committee of Hollywood, who had completed a tour of Europe with a symbolic visit to the Vatican in July 1945, and a speech addressed to the representatives of the American major production companies a month later12 .
This made consumption and anticommunism two sides of the same coin, a coin that Hollywood was trying to spread worldwide in order to contribute to America’s construction of a new world order. This ‘ideological conversion’—as May termed it—was 20 Post-War Italian Cinema achieved through the use of fi lms that presented an ideal world as opposed to the evil embodied by the Communist countries. The ideology of escapist entertainment was widely supported by the Government. In 1951 Bertrand Russell (1951: 13) commented on the phenomenon: The object is not to produce something that corresponds to fact, but something that makes you happy by corresponding to daydreams9.