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This book of interviews is an absorbing autobiography of the Italian community of Montreal, and its encounters with important events in Canada and in Europe from 1992 to 1945: from Mussolini's March on Rome to the Concordat between the Catholic Church and the Italian state; from the war in Ethiopia to the Pact of Steel signed by Mussolini and Hitler; from the Spanish civil war to the declaration of war between Italy and Canada. The reader will discover sensational revelations about the hundreds of Italian Canadians who were interned by the Canadian government during the Second World War -- often on trumped-up charges and without a single shred of evidence against them. These interviews recount the Italian community's passions and sorrows, its exuberant love of life and its struggle for survival and dignity in America.
Ruth Ben-Ghiat provides the first in-depth study of feature and documentary films produced under the auspices of Mussolini’s government that took as their subjects or settings Italy’s African and Balkan colonies. These "empire films" were Italy's entry into an international market for the exotic. The films engaged its most experienced and cosmopolitan directors (Augusto Genina, Mario Camerini) as well as new filmmakers (Roberto Rossellini) who would make their marks in the postwar years. Ben-Ghiat sees these films as part of the aesthetic development that would lead to neo-realism. Shot in Libya, Somalia, and Ethiopia, these movies reinforced Fascist racial and labor policies and were largely forgotten after the war. Ben-Ghiat restores them to Italian and international film history in this gripping account of empire, war, and the cinema of dictatorship.
Legend would have it that Mussolini put roofs over Italians? heads, developed the economy, had trains running on time, stood up for justice and against the mafia, protected the Jews from Nazi Germany, was a feminist, and put Italy on the map as a respected power. The founder of fascism?s only mistake was allying with Hitler.
Minor philofascist publications that appeared in those years are considered as well. Their editorial policy is woven with and presented against the background of the portentous events that shook the world and led to the Second World War."--BOOK JACKET.
This study argues that neorealism’s visual genius is inseparable from its almost invisible relation to the Fascist past: a connection inscribed in cinematic landscapes. While largely a silent narrative, neorealism’s complex visual processing of two decades of Fascism remains the greatest cultural production in the service of memorialization and comprehension for a nation that had neither a Nuremberg nor a formal process of reconciliation. Through her readings of canonical neorealist films, Minghelli unearths the memorial strata of the neorealist image and investigates the complex historical charge that invests this cinema. This book is both a formal analysis of the new conception of the cinematic image born from a crisis of memory, and a reflection on the relation between cinema and memory. Films discussed include Ossessione (1943) Paisà (1946), Ladri di biciclette (1948), and Cronaca di un amore (1950).
Enemies Within is the first study of its kind to examine not only the formulation and uneven implementation of internment policy, but the social and gender history of internment. It brings together national and international perspectives.
Rosselli (1899-1937) was one of the most influential of European antifascist intellectuals. Born into a wealthy Jewish family, and abandoning a career as a professor of political economics, he devoted his fortune and ultimately his life to the struggle against fascism. Pugliese interweaves strands of heresy, exile, and tragedy in this biography.
From cinema's beginnings filmmakers have turned to the past for their stories, so much so that in many ways our historical culture is shaped more in the movie theatre than in the classroom. Inside the Historical Film argues how and why film can enrich our understanding of the past. Bruno Ramirez discusses a wide range of films, from various historical and national contexts, pointing to the role that film-crafts play in translating historical events into cinematic language. He takes the reader through the process of conception, research, design, and production of several films that he researched and co-wrote, explaining the decisions that were made to best convey historical knowledge. The practice-based quality at the core of Ramirez's analysis is further enhanced by conversations with world-renowned film directors, including Denys Arcand, Constantin Costa-Gavras, Deepa Mehta, Renzo Rossellini, Paolo and Vittorio Taviani, and Margarethe von Trotta. Grounded in an appreciation for the interpretative value of making films and cinema's ability to reach large public audiences at personal and emotional levels, Inside the Historical Film seeks to understand historical films as both creative works and multi-layered representations of the past.
This book analyses the relationship between Fascist Italy and the League of Nations in the interwar years. By uncovering the traces of those Italians working in the organization, this volume investigates Fascist Italy’s membership of the League, and explores the dynamics between nationalism and internationalism in Geneva. The relationship between Fascist Italy and the League of Nations was contradictory, shifting from active collaboration to open disagreement. Previous literature has not reflected this oscillation in policy, focusing disproportionally on the problems Italy caused for the League, such as the Ethiopian crisis. Yet Fascist Italy remained in the League for more than fifteen years, and was the third largest power within the institution. How did a Fascist dictatorship fit into an organization espousing principles of liberal internationalism? By using archival sources from four countries, Elisabetta Tollardo shows that Fascist Italy was much more concerned with, and involved in, the League than currently believed.
These 17 original, innovative studies reinterpret the social and institutional development of one of Canadas largest dioceses.