The study showed that after Mussolini came to power, the creative intelligentsia split into two camps: pro-fascist and anti-fascist. For the anti-fascist position, many famous playwrights fell out of favor with the authorities, while others stubbornly did not notice the demands of the authorities, taking advantage of their world fame. Not one of the Italian classics responded to the call of the Duce through art to bring the values of fascism to the masses. At the same time, the pro-fascist creative intelligentsia and the middle class enthusiastically took up the pen, creating works of a propagandistic nature, but of a very low artistic level. At https://gogoanime.red you can find the best choices now.
One of the favorite places for leisure activities for the bourgeois public was the pop theater
Very popular in the 1930s used comedies of “white phones”, and the most famous playwright of this direction was Aldo De Benedetti (1892-1970). In general, during the years of the Mussolini regime’s rule, there is no reason to talk about creating a truly “fascist” or folk theater or literature with original finds and creative successes.
- The fascist regime in Italy had a serious impact on the development of cinema, both negative and positive. The negative includes the establishment of strict censorship of power in the country to a certain extent the Vatican, the country’s cultural isolation, persecution of anti-fascists and dissidents, the unpredictable reaction of the authorities to innovations and reflection in real-life cinema. The main cinema genres of the Mussolini period were Hungarian comedy, American-style melodramas, propaganda and documentaries.
- The hope of the old film companies and film unions for support from the authorities in the post-war economic crisis did not materialize. With the exception of the Chines film company, all the previous film studios, which had not only rich production experience, ready-made pavilions, established contacts abroad and world fame ceased to exist. By the end of the 1920s, Turin and Naples ceased to be world centers of film production, where the best foreign experts sought to get. It should be recognized that the lost position of the cinema of Italy in the world market could not be restored in subsequent years of the XX century.
At the same time, during the Mussolini period, there were many positive results that had a decisive influence on the post-war take-off and world fame of Italian cinema. With the advent of sound cinema, a reform was carried out and a number of laws were adopted in support of national cinema, in particular, the restriction (in some cases, a ban) on the import of foreign film production, the organization of a system of financing by the state of film production, as in the USSR. In the 1930s the title of cinematographer became a kind of security certificate, thanks to which it was allowed to work in the Italian film industry not only to people who did not share the views of the Nazis but even representatives of the “lower race”. An important milestone in the culture of Italy was the establishment of the National Film Educational Union “LUCHE” (1925); the International Film Festival in Venice (since 1932); Experimental Center for Cinematography (1935); the construction of the cinema town “Chinechitta” (1937). The undeniable authority of the Italian filmmakers of the fascist period was enjoyed by Soviet film theorists V.I. Pudovkin, S.M. Eisenstein, B. Balash and films of directors G.V. Alexandrova,