Titlebook: Italy through the Red Lens; Italian Politics and Gianluca Fantoni Book 2021 The Editor(s) (if applicable) and The Author(s), under exclusiv

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Book 2021amines the entire period during which the party had a systematic and organized approach to cinematographic production, starting with the early experiments in 1946 and concluding with the closure of PCI film company Unitelefilm at the end of the 1970s. Its analysis sheds light on a range of issues, s

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The Early 1970s: Unitelefilm, the Fascist Threat, and the ‘Historic Compromise’interest, and, for the first time, social issues such as mental health and drug addiction were addressed. Conversely, foreign policy virtually disappeared from Communist cinematography, with the notable exception of documentaries on socialist countries that were expressly produced for the party’s diehard militants.

特征

Women’s Issues, Feminism, and the PCIs the feminist movement had introduced in the political debate, such as patriarchy, sexuality as a political issue, and reproductive rights. However, fundamental differences continued to exist between what can be generally defined as the Italian feminist movement and the PCI’s apparatus.

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Togliatti’s , and Italian Cinemathe Italian Communist Party’s policy towards cinema was insufficient, for the party leadership utterly disregarded the industrial and legislative aspects of cinema. This was ultimately consistent with the PCI leadership’s apparent indifference to cinema as a cultural object.

枯燥

Socialist Realism Italian-Style: PCI Cinematic Propaganda in the Stalin Eraitancy and the militants–leadership relationship. The PCI films of this period are more interesting for what they unconsciously disclose than for what they intentionally show, that is, for what was pre-decided in the script. The films discussed here include . (14 July), . (Togliatti is back) and . (Something has changed in the South).