On 24 November 1961, the first part of the documentary series Storia del Terzo Reich (The History of the Third Reich) was broadcast on Italy’s second public broadcasting channel Radiotelevisione Italiana (RAI). 1 After the first episode, called Hitler al potere (Hitler in Power),2 which was shown in the context of the historical programme Anni d’Europa (The Years of Europe), three more parts followed in the course of the next year. All of these episodes were created by the young film director Liliana Cavani. Based on archival footage, including original images of the Nazi concentration camps, they recon- struct the historical events that brought most of Europe under Nazi dominion. Focus- sing mainly on Hitler and Nazism in Germany, the documentaries mentioned the Ital- ian fascist movement and Italy’s responsibility for the Holocaust for the first time in the history of Italian television. A few years later, Cavani produced Il giorno della pace (The Day of Peace)3 and La donna nella Resistenza (Women in the Resistance)4 for television, in which she made use of a different documentary style to address the Holocaust, using mainly testimonies of female Italian partisans. This essay examines the specifics and differences of how Cavani presented the Holo- caust in these documentary series and films. In addition to Storia del Terzo Reich, Il giorno della pace, and La donna nella Resistenza, it uses excerpts from an original inter- view with Liliana Cavani, whose words will be presented parallel to the analysis of her televised products as instruments of analysis. Within the televised context, these films take into account the generalised rhetoric and also the guilty silence on the Holocaust in Italy, initiating a radical departure from these tendencies.

Breaking The Paradigm. Visualizing the Holocaust in Three of Liliana Cavani's TV Documentaries / Garofalo, Damiano. - (2019), pp. 241-252.

Breaking The Paradigm. Visualizing the Holocaust in Three of Liliana Cavani's TV Documentaries

Damiano Garofalo
2019

Abstract

On 24 November 1961, the first part of the documentary series Storia del Terzo Reich (The History of the Third Reich) was broadcast on Italy’s second public broadcasting channel Radiotelevisione Italiana (RAI). 1 After the first episode, called Hitler al potere (Hitler in Power),2 which was shown in the context of the historical programme Anni d’Europa (The Years of Europe), three more parts followed in the course of the next year. All of these episodes were created by the young film director Liliana Cavani. Based on archival footage, including original images of the Nazi concentration camps, they recon- struct the historical events that brought most of Europe under Nazi dominion. Focus- sing mainly on Hitler and Nazism in Germany, the documentaries mentioned the Ital- ian fascist movement and Italy’s responsibility for the Holocaust for the first time in the history of Italian television. A few years later, Cavani produced Il giorno della pace (The Day of Peace)3 and La donna nella Resistenza (Women in the Resistance)4 for television, in which she made use of a different documentary style to address the Holocaust, using mainly testimonies of female Italian partisans. This essay examines the specifics and differences of how Cavani presented the Holo- caust in these documentary series and films. In addition to Storia del Terzo Reich, Il giorno della pace, and La donna nella Resistenza, it uses excerpts from an original inter- view with Liliana Cavani, whose words will be presented parallel to the analysis of her televised products as instruments of analysis. Within the televised context, these films take into account the generalised rhetoric and also the guilty silence on the Holocaust in Italy, initiating a radical departure from these tendencies.
2019
Völkermord zur Prime Time. Der Holocaust in Fernsehen
978-3-7003-2133-0
Holocaust; Television; Italian cinema; Liliana Cavani
02 Pubblicazione su volume::02a Capitolo o Articolo
Breaking The Paradigm. Visualizing the Holocaust in Three of Liliana Cavani's TV Documentaries / Garofalo, Damiano. - (2019), pp. 241-252.
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11573/1405701
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