Reception of War Propaganda in Fascist Italy: Second World War Fiction Films and Critical Audiences
Making use of original archival material, this article examines the popular reception of Italian war films in Second World War Italy, particularly in the final years of the conflict. It focuses on critical responses to fictional features that developed war narratives in line with the state's pr...
Ausführliche Beschreibung
Gespeichert in:
| Autor*in: |
Courriol, Marie-France [verfasserIn] |
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| Format: |
Artikel |
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| Sprache: |
Englisch |
| Erschienen: |
2015 |
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| Rechteinformationen: |
Nutzungsrecht: © 2014 IAMHIST & Taylor & Francis 2014 © COPYRIGHT 2015 Taylor & Francis Group, LLC |
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| Schlagwörter: |
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| Systematik: |
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| Übergeordnetes Werk: |
Enthalten in: Historical journal of film, radio and television - Abingdon : Routledge, Taylor & Francis Group, 1981, 35(2015), 1, Seite 1-26 |
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| Übergeordnetes Werk: |
volume:35 ; year:2015 ; number:1 ; pages:1-26 |
| Links: |
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| DOI / URN: |
10.1080/01439685.2014.933644 |
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| 520 | |a Making use of original archival material, this article examines the popular reception of Italian war films in Second World War Italy, particularly in the final years of the conflict. It focuses on critical responses to fictional features that developed war narratives in line with the state's propaganda guidelines. Police sources that registered audiences' reactions show that numerous readings ran counter to the original film projects as defined by the directors and producers. Deconstructing the intentionalist approach, this article builds towards a more balanced view of Fascist propaganda that takes its failures and audience reactions into account. Divergent readings are also investigated in the light of the cognitive processes that led spectators to elaborate them. Examining the variety of spectators' responses, the article consequently underscores audiences' heterogeneity. It therefore pleads for an extension of the concept of the 'resistant spectator' as one that cannot be understood solely in terms of politically progressive contestation. By considering film-goers' ability to navigate their way through the imposed reading codes and the inner workings of film literacy, this study reads the impact of war propaganda against the perspective of its quantifiable reception, re-evaluating spectators' and citizens' agency in a context of war and political coercion. | ||
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10.1080/01439685.2014.933644 doi PQ20160617 (DE-627)OLC1968436391 (DE-599)GBVOLC1968436391 (PRQ)c3491-8a840b4a9bcb9cedcba50d3e2406ade7c8a3c962fa947b2b7ae2ec6985f64f4f0 (KEY)0102141920150000035000100001receptionofwarpropagandainfascistitalysecondworldw DE-627 ger DE-627 rakwb eng 070 792 620 DNB THEATER fid AP 30340 AVZ rvk 05.34 bkl 24.00 bkl Courriol, Marie-France verfasserin aut Reception of War Propaganda in Fascist Italy: Second World War Fiction Films and Critical Audiences 2015 Text txt rdacontent ohne Hilfsmittel zu benutzen n rdamedia Band nc rdacarrier Making use of original archival material, this article examines the popular reception of Italian war films in Second World War Italy, particularly in the final years of the conflict. It focuses on critical responses to fictional features that developed war narratives in line with the state's propaganda guidelines. Police sources that registered audiences' reactions show that numerous readings ran counter to the original film projects as defined by the directors and producers. Deconstructing the intentionalist approach, this article builds towards a more balanced view of Fascist propaganda that takes its failures and audience reactions into account. Divergent readings are also investigated in the light of the cognitive processes that led spectators to elaborate them. Examining the variety of spectators' responses, the article consequently underscores audiences' heterogeneity. It therefore pleads for an extension of the concept of the 'resistant spectator' as one that cannot be understood solely in terms of politically progressive contestation. By considering film-goers' ability to navigate their way through the imposed reading codes and the inner workings of film literacy, this study reads the impact of war propaganda against the perspective of its quantifiable reception, re-evaluating spectators' and citizens' agency in a context of war and political coercion. Nutzungsrecht: © 2014 IAMHIST & Taylor & Francis 2014 © COPYRIGHT 2015 Taylor & Francis Group, LLC Audiences War Fascism World War II Motion pictures Italy Propaganda War films Film-Productions Feature films Politics & the cinema Sociological research Behavior Research Propaganda, Fascist Motion picture audiences War in motion pictures Enthalten in Historical journal of film, radio and television Abingdon : Routledge, Taylor & Francis Group, 1981 35(2015), 1, Seite 1-26 (DE-627)130455830 (DE-600)720706-2 (DE-576)016019369 0143-9685 nnns volume:35 year:2015 number:1 pages:1-26 http://dx.doi.org/10.1080/01439685.2014.933644 Volltext http://www.tandfonline.com/doi/abs/10.1080/01439685.2014.933644 http://search.proquest.com/docview/1655865427 GBV_USEFLAG_A SYSFLAG_A GBV_OLC FID-THEATER SSG-OLC-ZGE SSG-OLC-HIS SSG-OLC-MKW SSG-OLC-FTH SSG-OPC-MBF GBV_ILN_11 GBV_ILN_187 GBV_ILN_2005 GBV_ILN_2559 GBV_ILN_4012 GBV_ILN_4311 GBV_ILN_4316 AP 30340 05.34 AVZ 24.00 AVZ AR 35 2015 1 1-26 |
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Reception of War Propaganda in Fascist Italy: Second World War Fiction Films and Critical Audiences |
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Making use of original archival material, this article examines the popular reception of Italian war films in Second World War Italy, particularly in the final years of the conflict. It focuses on critical responses to fictional features that developed war narratives in line with the state's propaganda guidelines. Police sources that registered audiences' reactions show that numerous readings ran counter to the original film projects as defined by the directors and producers. Deconstructing the intentionalist approach, this article builds towards a more balanced view of Fascist propaganda that takes its failures and audience reactions into account. Divergent readings are also investigated in the light of the cognitive processes that led spectators to elaborate them. Examining the variety of spectators' responses, the article consequently underscores audiences' heterogeneity. It therefore pleads for an extension of the concept of the 'resistant spectator' as one that cannot be understood solely in terms of politically progressive contestation. By considering film-goers' ability to navigate their way through the imposed reading codes and the inner workings of film literacy, this study reads the impact of war propaganda against the perspective of its quantifiable reception, re-evaluating spectators' and citizens' agency in a context of war and political coercion. |
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Making use of original archival material, this article examines the popular reception of Italian war films in Second World War Italy, particularly in the final years of the conflict. It focuses on critical responses to fictional features that developed war narratives in line with the state's propaganda guidelines. Police sources that registered audiences' reactions show that numerous readings ran counter to the original film projects as defined by the directors and producers. Deconstructing the intentionalist approach, this article builds towards a more balanced view of Fascist propaganda that takes its failures and audience reactions into account. Divergent readings are also investigated in the light of the cognitive processes that led spectators to elaborate them. Examining the variety of spectators' responses, the article consequently underscores audiences' heterogeneity. It therefore pleads for an extension of the concept of the 'resistant spectator' as one that cannot be understood solely in terms of politically progressive contestation. By considering film-goers' ability to navigate their way through the imposed reading codes and the inner workings of film literacy, this study reads the impact of war propaganda against the perspective of its quantifiable reception, re-evaluating spectators' and citizens' agency in a context of war and political coercion. |
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Making use of original archival material, this article examines the popular reception of Italian war films in Second World War Italy, particularly in the final years of the conflict. It focuses on critical responses to fictional features that developed war narratives in line with the state's propaganda guidelines. Police sources that registered audiences' reactions show that numerous readings ran counter to the original film projects as defined by the directors and producers. Deconstructing the intentionalist approach, this article builds towards a more balanced view of Fascist propaganda that takes its failures and audience reactions into account. Divergent readings are also investigated in the light of the cognitive processes that led spectators to elaborate them. Examining the variety of spectators' responses, the article consequently underscores audiences' heterogeneity. It therefore pleads for an extension of the concept of the 'resistant spectator' as one that cannot be understood solely in terms of politically progressive contestation. By considering film-goers' ability to navigate their way through the imposed reading codes and the inner workings of film literacy, this study reads the impact of war propaganda against the perspective of its quantifiable reception, re-evaluating spectators' and citizens' agency in a context of war and political coercion. |
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