Keeping the Faith: Fallen Soldiers and Catholic Iconography in Late Fascist War Cinema.
This article examines the foregrounding of Catholic iconography in three 1943 Fascist war films:Quelli della montagna(Aldo Vergano),Il treno crociato(Carlo Campogalliani), andI trecento della settima(Mario Baffico). By portraying armed conflict not in terms of victory and defeat, but as momentary st...
| Publicado en: | Italianist Vol. 37; no. 2; pp. 176 - 192 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Jun2017
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=ssf&AN=124584967&site=ehost-live header: @attributes: shortDbName: ssf uiTerm: 124584967 longDbName: Social Sciences Full Text (H.W. Wilson) uiTag: AN controlInfo: bkinfo: jinfo: jid: 02614340 PKL jtl: Italianist issn: 02614340 maglogo: N pubinfo: dt: Jun2017 vid: 37 iid: 2 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 124584967 10.1080/02614340.2017.1332727 ppf: 176 ppct: 16 formats: fmt: – @attributes: type: T db: hlh ui: 124584967 – @attributes: type: P db: hlh ui: 124584967 tig: atl: Keeping the Faith: Fallen Soldiers and Catholic Iconography in Late Fascist War Cinema. aug: au: Zambenedetti, Alberto affil: Department of Italian Studies, Cinema Studies Institute, University of Toronto, Toronto, Ontario su: Italy Catholic Church War films Motion picture industry Symbolism in art Fascism & motion pictures sug: subj: War films Italy Catholic Church Other Motion Picture and Video Industries Motion Picture and Video Distribution Motion Picture and Video Production Motion picture and video exhibition Motion picture industry Symbolism in art Fascism & motion pictures keyword: Catholic iconography Eucharistic Body Fascist war films Italian cinema Pietà Pietà Catholic iconography Eucharistic Body Fascist war films Italian cinema Pietà Pietà ab: This article examines the foregrounding of Catholic iconography in three 1943 Fascist war films:Quelli della montagna(Aldo Vergano),Il treno crociato(Carlo Campogalliani), andI trecento della settima(Mario Baffico). By portraying armed conflict not in terms of victory and defeat, but as momentary struggle on the path to salvation, this particular kind of cinema moved away from national bombast, or at least tempered it, and rewrote deprivation as abnegation, defeat as providence, and death as martyrdom. In this context, the fallen soldier becomes aEucharistic Body: a ritualistic offering of the transubstantiated body of a sacrificial lamb to the congregation (the audience and the nation), who by taking part in this cinematic communion acknowledges his immolation and accepts military defeat as the will of a higher power. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: N holdings: @attributes: islocal: N |
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