Abstract
1941, a medida que los bombardeos norteamericanos causan destrucción y muerte, la población se da cuenta de que el gobierno fascista había trágicamente mentido: no existe una guerra rápida y sin pena alguna. Tras el frenesí propagandístico de los documentales de exaltación militar Ali fasciste (Fernando Cerchio, 1941), directores y trabajadores de Cinecittà frenan su apoyo a la agresiva política militar. El ministro de Cultura Popular Alessandro Pavolini aprueba de inmediato la financiación de una serie de películas que infundan una visión de la guerra como una condición serenamente aceptada por los soldados. Se entiende proponer una nueva forma de heroísmo que aleja las actitudes beligerantes y premia la solidaridad, la abnegación y el sacrificio. El presente trabajo quiere analizar cómo en este nuevo curso, y particularmente a partir de La nave bianca (1941, primer largometraje de Rossellini), se introducen los primeros gérmenes de la estética neorrealista.
Highlights
AbstRAct As US bombardments caused death and destruction, common people realized that the fascist ads of a quick war without penalty were a tragic governmental lie
After the propagandist frenzy of military exaltation documentaries like Ali fasciste (Fernando Cerchio, 1941), directors and employees of Cinecittà held back their support for an aggressive military policy
In 1941 Pavolini, the Popular Culture Minister, approved immediately funding for a series of films that instilled a vision of war as a condition serenely accepted by soldiers. It was proposing a new form of heroism that alienated the belligerent attitudes and rewarded solidarity, selflessness and sacrifice
Summary
Resumen 1941, a medida que los bombardeos norteamericanos causan destrucción y muerte, la población se da cuenta de que el gobierno fascista había trágicamente mentido: no existe una guerra rápida y sin pena alguna. Tras el frenesí propagandístico de los documentales de exaltación militar Ali fasciste (Fernando Cerchio, 1941), directores y trabajadores de Cinecittà frenan su apoyo a la agresiva política militar. After the propagandist frenzy of military exaltation documentaries like Ali fasciste (Fernando Cerchio, 1941), directors and employees of Cinecittà held back their support for an aggressive military policy. In 1941 Pavolini, the Popular Culture Minister, approved immediately funding for a series of films that instilled a vision of war as a condition serenely accepted by soldiers. It was proposing a new form of heroism that alienated the belligerent attitudes and rewarded solidarity, selflessness and sacrifice.
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