The Folklore of Consensus: Theatricality in the Italian Cinema, 1930-1943SUNY Press, 1998 M01 1 - 352 pages Marcia Landy's The Folklore of Consensus examines the theatricality in the Italian popular cinema of the 1930s and early 1940s, arguing that theatricality was a form of politics--a politics of style. While film critics no longer regard the commercial films of the era as mere propaganda, they continue to regard the cinema under fascism as "escapist," diverting audiences from the harsh realities of life under fascism. The Folklore of Consensus problematizes the notion of "escapism," examining the complexity that redeems the films from frivolity and evasion. It shifts the focus from a preoccupation with cinema as the public and spectacular purveyor of "fascinating fascism" to a more immediate and intimate terrain that bears on formulations about the role of mass culture then and now. |
Contents
CHAPTER ONE | 1 |
Cinema and Consensus | 18 |
CHAPTER TWO | 45 |
Folklore Opera and Putting on a Show 51 Life | 62 |
Americanism and Fordism 66 Typists and Hap | 76 |
Comedy Folklore and the Law 80 Family as The | 85 |
and Carnival 94 Regarding Friendly Fascism | 100 |
CHAPTER THREE | 107 |
CHAPTER FOUR | 169 |
A Paradigmatic Text 175 The Prodigal Son | 178 |
The Orphans Return 181 Machines and Modernity | 185 |
The Prodigal Father 192 Surrogate | 210 |
Decadence and Violence Unredeemed 221 Death | 229 |
CHAPTER FIVE | 237 |
The Maternal Machine 242 WorkingClass Divas | 251 |
Return to the Mother 265 Cal | 285 |
Other editions - View all
The Folklore of Consensus: Theatricality in the Italian Cinema, 1930-1943 Marcia Landy Limited preview - 1998 |
The Folklore of Consensus: Theatricality in the Italian Cinema, 1930-1943 Marcia Landy Limited preview - 1998 |
Common terms and phrases
Adriana affect Andrea Anna Antonio Antonio Centa Assia Noris audience becomes behavior biopic Blasetti's calligraphic Camerini's character Cinecittà comedies common sense conception conflict consensus contrast Corrado Cristina critical death Deleuze desire drama of conversion Elsa emphasis entertainment escapism femininity fiction figure Film Stills Archive film's focus folklore forms gender genre Gianni Gilles Deleuze Giovanni Gramsci highlighting historical films Hollywood homosocial Ibid identified identity ideology images impersonation involving Isa Miranda Italian cinema Italian Fascism Italy Maria Mario Mario Camerini masculine maternal melo melodrama Modern Art mother motif Museum of Modern narrative nature opera Otello past performance play political popular culture portrait production protagonist regime relation Remo representation reveals Risorgimento role romantic scenario scene Scipione l'Africano seeks Sergio sexual shots sisters social spectacle strategies style tells theatricality tion University Press upper-class Vittorio De Sica wife woman women York Museum Zazà Zosi