Conflicts of Memory: The Reception of Holocaust Films and TV by Emiliano Perra

By Emiliano Perra

Located on the confluence of heritage, media and cultural reports, this ebook reconstructs the customarily deeply discordant and hugely selective stories of the Holocaust in Italy within the postwar period. The author’s center approach is one in all reception research, targeted at the public responses to the various movies and tv programmes that experience addressed the Holocaust from the Forties to the current day. Tied to the historical past of Fascism, antifascism, and the Resistance, public reminiscence of the Holocaust in Italy has replaced drastically through the years. Self-acquitting myths of Italian innocence and victimhood, and universalising interpretations grounded in Catholicism and Communism, supplied the preliminary frameworks for realizing the Holocaust. besides the fact that, the final 20 years have noticeable an expanding centrality of the Holocaust in reminiscence tradition yet have additionally witnessed the institution of a paradigm that relativises different fascist crimes and degrees the diversities among Fascism and antifascism. operating with the most important corpus but validated of Holocaust movie and tv in Italy, from the 1948 retelling of the Wandering Jew delusion to Roberto Benigni’s debatable Life Is Beautiful, from the yank miniseries Holocaust to Perlasca: The braveness of a simply Man, Conflicts of Memory probes Italy’s ongoing, if incomplete, means of coming to phrases with this significant point of its previous.

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Extra resources for Conflicts of Memory: The Reception of Holocaust Films and TV Programmes in Italy, 1945 to the Present (Italian Modernities)

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Earlier discussions of La vita e bella andZrf tregua (The Truce, Francesco Rosi, 1997) can be found in Marcus 2002: 253-84 (a previous version of the chapter on La vita e bella is in Marcus 2000: 153-70). Marcus 2007:126. 2-4 C H A P T E R ONE a preference for setting their action abroad. Kapd is the story of a French Jew, IIportiere di notte (The Night Porter, Liliana Cavani, 1974) is set in Austria, Jona che visse nella balena (Jonah Who Lived in the Whale, Roberto Faenza, 1993) in Holland. When set in Italy, Holocaust films stress the moral indolence of Italians during and after the war, and even some of the best among them are more about complacency than persecution, more about Italy than about the Holocaust, and ultimately illustrate a tendency to refer to conventional issues such as social, economic, and even regional differences within the country.

Felice 1948. Vice, 'Prime visioni', L'Osservatore Romano (13 March 1948): 2. Early Postwar Debates: Between Catholicism and Resistance 37 The persistence of traditional prejudices L'ebreo errante and aspects of its reception display a persistence of forms of Catholic pre-Vatican Council II anti-Jewish prejudice. 38 L'ebreo errante represents the persistence, presumably unconscious, of approaches to Judaism still situating themselves in a conversionist horizon after the war, thus confirming the tendency in the aftermath of the war to conceptualise the events of the Holocaust within pre-existing frameworks.

It is only through the catalyst of Esther that Matteo finally resolves to repent and share the fate of the other Jews. After the escape from the camp, he explicitly tells Esther that his transformation is miraculous. He finally enacts his own imitatio Christi, following the teaching prophesised by Professor Epstein to its extreme consequence. Milan's Nuovo Corriere della Sera criticised the mixture of religious symbols and supposed realism in the representation of the camps. ' 34 While Lanocita censored the film's crude theological message, another review took it for granted.

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