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Black Shirts, Hearts of Gold: Recurrent Memories

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Abstract

The 1980s spelt both the demise of Fascism as a popular cinematic theme and the beginning of the revisionist trend, long before Berlusconi’s rise to power.1 Bettino Craxi’s government marked the union of the PSI’s neoliberal cultural shift and the DC’s traditional anti-Communist rhetoric. This set the stage for a revision of the civic religion of the Resistance that would later be picked up by Berlusconi, rebranded and packaged in an even glossier TV pulp than Craxi’s ‘court of dwarves and showgirls’.2 The neoliberal right’s emergence was compounded by the slow agony of the PCI. 3 The survival of Italy’s democracy in the 1970s – not at all a foregone conclusion – bore a hefty price for the Communists. The party compromised with the DC not along the virtuous if slightly utopian lines imagined by Moro and Berlinguer, but rather along the supremely pragmatic and often shady ones of Giulio Andreotti, who led the National Unity governments between 1976 and 1979 with external PCI support.4 By 1983, after four years of brutal fighting with the Red Brigades, more unclaimed right-wing massacres, trials, appeals, convictions handed down and overturned, mysteries and draconian Special Laws against terrorism, the BR were defeated, the student movement spent and the workers’ movement humiliated by the 1980 white-collar counter-strike at car manufacturer Fiat in Turin.

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Notes

  1. Maurizio Zinni, Fascisti di Celluloide (Venice: Marsilio, 2010) 265–85.

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  2. The expression is owed to Rino Formica, himself a leading PSI politician in the 1980s. Pietro Stampa, ‘Gli psicologi italiani 1970–2010: dalla rivendicazione istituzionale all’ “ansia di conformismo”’, Rivista di Psicologia Clinica, 2 (2011) 13.

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  3. Paul Ginborg, Italy and Its Discontents (London: Allen Lane, 2001) 157–62.

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  4. Between 1976 and 1978, the PCI agreed to abstain on the confidence votes for the Andreotti government; after Moro’s murder, in 1978, the PCI formalised their support with a confidence and supply agreement for a further year. Paul Ginsborg, Storia d’Italia dal Dopoguerra a Oggi II (Turin: Einaudi, 1989) 507–11.

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  5. Berlinguer’s funeral was attended by over a million people. Ginborg, Discontents (2001) 159.

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  6. Zinni, Fascisti (2010) 262–3.

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  7. Applied to a different case study, see Lesley Caldwell’s reversal of the motto in ‘Is the Political Personal? Fathers and Sons in Bertolucci’s Tragedia di un Uomo Ridicolo and Amelio’s Colpire al Cuore’, in Anna Cento Bull and Adalgisa Giorgio (eds), Speaking Out and Silencing: Culture, Society and Politics in Italy in the 1970s (Oxford: Legenda, 2006) 69–80.

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  8. Filippo Focardi and Lutz Klinkhammer, ‘The Question of Fascist Italy’s War Crimes: The Construction of a Self-acquitting Myth (1943–1948)’, Journal of Modern Italian Studies, 9:3 (2004) 330–48.

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  9. Claudio Fogu, ‘Italiani Brava Gente: the Legacy of Fascist Historical Culture on the Politics of Memory’, in Richard Ned Lebow, Wulf Kansteiner and Claudio Fogu (eds), The Politics of Memory in Postwar Europe (Durham: Duke University Press, 2006) 147.

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  10. Battista wrote in reaction to the murder in Iraq of activist Enzo Baldoni, an act, he suggested, that proved the demise of Italy’s imagined immunity on the grounds of being brava gente; Pierluigi Battista, ‘Italiani brava gente. Un mito cancellato’, La Stampa, 28 August 2004; this passage is also cited in Angelo Del Boca, Italiani, Brava Gente? (Vicenza: Neri Pozza Editore, 2005) 48–9.

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  11. DelBoca, Italiani (2005) 13–55.

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  12. For Bosworth’s rationale, which carries considerable historiographical and political implications, see Richard Bosworth, The Italian Dictatorship: Problems and Perspectives in the Interpretation of Mussolini and Fascism (London: Arnold, 1998) 5.

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  13. Giacomo Lichtner, ‘Italian Cinema and the Contested Memories of Fascism: Notes towards a Historical Reconsideration’, Italian Studies in Southern Africa/Studi d’Italianistica nell’Africa Australe, 24:1 (2011) 6–30.

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  14. Giovanni Guareschi, ‘Civil e la banda (1953)’, in Tutto Don Camillo I (Milan: Rizzoli, 1998) 546. The short story originally appeared in the collection Don Camillo e il Suo Gregge (Milan: Rizzoli, 1953).

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  15. See Christopher Duggan, The Force of Destiny: A History of Italy since 1796 (London: Longman, 2007) 217–41, 259–73.

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  16. Jonathan Dunnage, Twentieth-Century Italy: A Social History (London: Longman, 2002) 12–18; the significance of Banfield’s work is discussed

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  17. in Paul Ginsborg, Storia d’Italia dal Dopoguerra a Oggi I (Turin: Einaudi, 1989) x–xi.

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  18. Bert Cardullo, ‘The Children Are Watching Us’, The Hudson Review, 54:2 (2001) 295–304.

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  19. Giacomo Lichtner, ‘The Age of Innocence? Child Narratives and Italian Holocaust Films’, Modern Italy, 17:2 (2012) 197–208.

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  20. Millicent Marcus, After Fellini: National Cinema in the Postmodern Age (Baltimore: Johns Hopkins University Press, 2002) 268–84.

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  21. Ettore Scola et al., Concorrenza Sleale, screenplay manuscript, pp. 105–6; the script is held at Biblioteca Luigi Chiarini, Centro Sperimentale di Cinematografia, Roma. For an in-depth analysis of the transition from script to film see Giacomo Lichtner, ‘Allegory, Applicability or Alibi? Historicizing Intolerance in Ettore Scola’s Concorrenza Sleale’, Journal of Modern Italian Studies, 17:1 (2012) 92–105.

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  22. See Giacomo Lichtner, Film and the Shoah in France and Italy (Edgware: Vallentine Mitchell, 2008) 67–77, for a more comprehensive analysis of this film and its reception.

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  23. On this little-known and seldom discussed but sensitive and interesting film see Marcus, Italian Film in the Shadow of Auschwitz (Toronto: University of Toronto Press, 2007) 70–2.

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  24. A recent essay — superb, as much of the book it can be found in — on Germania Anno Zero is in Noa Steimatsky, Italian Locations: Reinhabiting the Past in Postwar Cinema (Minneapolis: University of Minnesota Press, 2008) 49–61.

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  25. Ettore Scola’s interview about Concorrenza Sleale; Italica RAI, ‘Intervista a Ettore Scola’, 2001. See the dossier on the film at http://www.italica.rai.it/scheda.php?scheda=concorrenza_intervista (accessed 25 January 2013).

  26. See the vivid and expert reconstruction in Philip Morgan, The Fall of Mussolini (Oxford: Oxford University Press, 2007) especially 11–33, 85–92.

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© 2013 Giacomo Lichtner

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Lichtner, G. (2013). Black Shirts, Hearts of Gold: Recurrent Memories. In: Fascism in Italian Cinema since 1945. Palgrave Macmillan, London. https://doi.org/10.1057/9781137316622_9

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