Abstract
The 1945 compilation documentary Giorni di gloria was promoted as the defining film of the Resistance. Produced by partisan organizations and coordinated by Mario Serandrei and Giuseppe De Santis, the film seeks to bring narrative resolution to the conflicted historical circumstances of Italy’s war of liberation. By foregrounding the role of the partisans in its account of war and reconstruction, Giorni di gloria seeks to build a myth of origins for post-fascist Italy that legitimizes the role of the Resistance in the postwar state. This article examines the filmmakers’ construction of a preferred narrative, focusing on the central episode of the Fosse Ardeatine massacre, as one of the most symbolic yet divisive events in Italy’s memory of the Second World War. It argues that the indexical quality of film and the codes of documentary are particularly well-suited to the processes of constructing favourable myths and countering problematic alternatives.
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