Document Type

Honors Capstone Project

Date of Submission

Spring 5-1-2010

Capstone Advisor

Michael Ebner

Honors Reader

Dennis Romano

Capstone Major

History

Capstone College

Arts and Science

Audio/Visual Component

no

Capstone Prize Winner

no

Won Capstone Funding

no

Honors Categories

Social Sciences

Subject Categories

European History | History | Political History

Abstract

How was film initially used by Mussolini and the Fascist regime? With the fall of Fascism in 1943, how did filmmakers, who worked under and were sympathetic to the regime, transition? How did Italian filmmakers grapple with the memory of the legacy of Fascism and WWII, while also looking to the future, during the transition from German occupation, which was followed by liberation via American occupation? And of the greatest concern in this essay, how was gender used as the tool for projecting this brand new idea ofItaly? In other words, in what ways do gender roles in Italian Cinema of this era help to reveal filmmakers’ perception of a newly conceptualizedItaly? Finally, in what ways do the roles of children serve to provide contrast to and support for the masculine and feminine characters?

The most intriguing thing discovered via the analyses of these films has been the way that Rossellini and De Sica exonerated Italians from guilt, blame, and association with Fascism via their child characters. Rossellini and De Sica essentially say that the protagonists (Italians) are in some ways infantilized—they are not responsible for what has happened during World War Two, as well as in the wake of Mussolini’s fascist regime.

Creative Commons License

Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License
This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License.

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