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Erschienen in:
2010 | OriginalPaper | Buchkapitel
In the Ruins of Fascism
Erschienen in: Cinema After Fascism
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Roberto Rossellini’s neorealist trilogy demands to be read in the context of the past history of Italian cinema, especially fascist cinema, though it is not usually interpreted in that light. Two years before making Roma, città aperta, which opened in 1945 and is considered by many to be the first true neorealist film, Rossellini was operating within the fascist film industry, creating work that could be classified, perhaps somewhat reductively, as sophisticated military propaganda films.1 He moved in this short time from producing work that glorified the fascist military machine—espousing, at least in large segments of these films, a jingoistic and hypermasculinized version of Italian national identity fully in keeping with fascist ideals—to a clear condemnation of fascist society.2