La revue Cinéma : (1936-1943)
Institution:
Paris 8Disciplines:
Directors:
Abstract EN:
Cinema is a bi-monthly which deals with cinema in fascist italy during the 30's. Its glorious final period (1941-1943) is well-known for having anticipate the neo-realism. Trials ans errors of the initial period (1936-1940) were simultaneously emphasized. Personalities of fascist regime have played a part in the review, like mussolini's son, vittorio, who was the manager of cinema. Nevertheless the function - inquestionable - of cinema in an antifascist awareness was always underlined a code of reading has been fixed and it seems the only one which can explain the specificity of cinema. But it doesn't resolve two problems : the part played by cinema in the process of transformation of italian culture in the 30's and the relation between fascism and cinema the pierre bourdieu's theory of artistic "fields" seems appropriate to contemplate the problem differently. With the creation of the centre sperimentale di cinematografia (1935) a "land of cinema" appears in the italian culture. This domain, not properly definite at the beginning and invaded by men of letters, is progressively delimited through institutions. The inscription of the cinema and its specialists in the italian society and culture during the 30's throw light on the function of cinema from 1936 to 1943. Bourdieu's concept throw light also on the relations between cinema and fascism. The land of cinema is a "space of mediation" between external influences - the social and politic situation - and the internal conflicts of the cinema domain. Thus we have read the progressive definition of the realistic position and the preparation of luchino visconti's ossessione (1943). The second war and the resistance remain important factors but their influence is exerted on an other kind of activity the story of which had begun two years before.
Abstract FR:
Cinema est un bimensuel qui traite du cinema dans l'italie fasciste des annees 30. On connait bien sa fin glorieuse (1941-1943) car elle a prepare le terrain au cinema neo, realiste de l'apres-guerre. On evoque en contrepoint le desordre des debuts (1936-1940). Des responsables du regime y ont joue un role important, a commencer par le propre fils du dictateur, vittorio mussolini, qui en fut le directeur. Pourtant, on insiste toujours sur le role - indiscutable - de la revue dans une prise de conscience anti-fasciste. Un code de lecture s'est impose comme le seul pouvant rendre compte de la specificite de cinema laissant en suspens deux questions importantes : le role de la revue dans la reconfiguration de la culture italienne et le rapport entre fascisme et cinema. C'est la theorie des champs artistiques du sociologue pierre bourdieu qui nous a permis d'envisager autrement le probleme. Avec la creation du centre experimental de cinematographie (1935), on voit se dessiner un "espace cinematographique" dans le champ culturel italien. Ce secteur artistique, mal defini et frequente par des litteraires, se delimite progressivement grace a la mise en place d'institutions. L'inscription du cinema et de ses figures specialisees dans la societe et la culture italiennes des annees 30 donne un sens a la fonction de cinema de 1936 a 1943. Les outils de bourdieu apportent aussi un autre eclairage sur les rapports cinema / fascisme. Le champ cinematographique fonctionne comme un "espace de mediation" entre les influences exterieures - la realite socio-historique - et les conflits propres a l'activite artistique en question. C'est ainsi qu'a ete lue la progressive definition de l'esthetique "realiste" et la preparation du film ossessione (1943) de luchino visconti. La guerre et la resistance reprennent alors toute leur signification de facteurs determinants, mais qui viennent peser sur une activite d'une autre nature, dont l'histoire a commencee deux ans plus tot.