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Cinema After FascismIntroduction

Cinema After Fascism: Introduction [Cinema After Fascism considers postwar European cinema, examining the ambivalent backward glances with which filmmakers acknowledge the saturation of the present by the fascist past. Fascism persists as the rubble-field of cinema after 1945, its constituent elements taken up as building blocks for new visions and new constructions, which never fully escape the mark of their origin. The ruins of war, a recurring image in postwar cinema, are emblematic of a broader condition: the failure of the familiar epistemologies of knowledge and of the self, in which all existing constructions, both literal and figurative, have been erased. There are no stable certainties left, only provisional configurations that are always threatening to collapse again into the debris. The rubble on the screen is matched by the ruin of cinematic representation as postwar directors engage with the fascist past of the medium. Attempts to reconfigure the idioms of cinema, ranging from the ambivalently postfascist neorealism of Roberto Rossellini to the “neomelodramas” of Rainer Werner Fassbinder, remain highly precarious. These new cinematic languages are never fully naturalized: the joists and scaffolding remain visible and indeed become a major preoccupation in themselves. In examining the embedded discourses about epistemology, representation, gendered subjectivity, and historiography in the work of several major postwar directors, Cinema After Fascism looks at the rubble of art and vision as filmmakers confront the fractured remains of fascist aesthetics, culture, and cinema.] http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png

Cinema After FascismIntroduction

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Publisher
Palgrave Macmillan US
Copyright
© Palgrave Macmillan, a division of Nature America Inc. 2010
ISBN
978-1-349-28823-6
Pages
1 –15
DOI
10.1057/9780230109742_1
Publisher site
See Chapter on Publisher Site

Abstract

[Cinema After Fascism considers postwar European cinema, examining the ambivalent backward glances with which filmmakers acknowledge the saturation of the present by the fascist past. Fascism persists as the rubble-field of cinema after 1945, its constituent elements taken up as building blocks for new visions and new constructions, which never fully escape the mark of their origin. The ruins of war, a recurring image in postwar cinema, are emblematic of a broader condition: the failure of the familiar epistemologies of knowledge and of the self, in which all existing constructions, both literal and figurative, have been erased. There are no stable certainties left, only provisional configurations that are always threatening to collapse again into the debris. The rubble on the screen is matched by the ruin of cinematic representation as postwar directors engage with the fascist past of the medium. Attempts to reconfigure the idioms of cinema, ranging from the ambivalently postfascist neorealism of Roberto Rossellini to the “neomelodramas” of Rainer Werner Fassbinder, remain highly precarious. These new cinematic languages are never fully naturalized: the joists and scaffolding remain visible and indeed become a major preoccupation in themselves. In examining the embedded discourses about epistemology, representation, gendered subjectivity, and historiography in the work of several major postwar directors, Cinema After Fascism looks at the rubble of art and vision as filmmakers confront the fractured remains of fascist aesthetics, culture, and cinema.]

Published: Oct 9, 2015

Keywords: Foreign Affair; Ferris Wheel; Fascist Regime; Gender Subjectivity; Commercial Film

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