By Daniela Treveri Gennari
Through a comparative process of present theories built on ideology and an research of professional files from the Vatican and the USA division of nation, the ebook investigates the decisive function that American creation businesses performed within the improvement of the Italian movie and their hyperlinks to the Vatican. This research evaluates how the Italian creation and distribution industries chuffed the yankee political and fiscal pursuits. American political and cultural ideology of the post-1945 period, is in comparison with the Roman Catholic ideology in an effort to determine their cultural propaganda. this is often by means of experiences of the jobs performed via key members, akin to Giulio Andreotti, and associations akin to ANICA and A.G.I.S. excited about formulating the regulations and laws that affected the construction and distribution of yankee and Italian movies within the post-1945 period, in addition to the involvement of the Roman Catholic Church during this process.
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Additional resources for Post-War Italian Cinema: American Intervention, Vatican Interests
Example text
In fact, in a speech delivered to an American Legion convention on 15 August 1951, President Truman affi rmed that Real Americanism means that we will protect freedom of speech [ . . ], freedom of religion [ . . ], fair opportunities for all our citizens [ . . ], fair play [ . . ], that liberty is not license and that Americanism is under attack by communism, at home and abroad5. While in this context cinema was not directly included in Truman’s concept of freedom of speech, the relationship between American ideology and American culture is vital.
By making fi lms in Italy, American production companies could also invest their blocked money in films they could afterwards export back to the United States and out into other foreign markets16. In his 1994 analysis of the American cinema in Italy, Gian Piero Brunetta (1994: 145) declares that ‘for a long period after the war Italy continued to be the biggest importer of American films in Europe’ and ‘although the Government passed decrees placing limits on imports, in practice it never enforced them’.
The power of the oral communication, which the fi lm was at the time the strongest representative, in order to legitimate the power of the ruling ideology is certainly essential when discussing American ideology. The concept of democracy is central to American ideology. Yet, in the context of this research, it is of relevance to analyse the ideals and the values behind the concept of ‘democracy’ in order to understand and identify the same values in American cinema. This becomes even more pertinent when it is borne in mind Francis Fukuyama’s theory of the end of the ideology, in which he Stated that ‘there is only one competitor standing in the ring as an ideology of potential universal validity: liberal democracy’ (Fukuyama 1992: 42).