Abstract
The last few years have seen among serious young European directors like Bertolucci, CostaGavras and Saura a resurgence of interest in fascism, not as the arena for physical combat between absolute forces of right and wrong, but as a social phenomenon. These directors, and they include such older, established figures as Visconti and Petri, reveal a reawakened interest in examining its social structure and its psychological origins in the mass man who is most susceptible to fascist movements. Films about fascism are, of course, not new. But the formula for the antifascist film as
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