Papers by Gianluca della Maggiore
Schermi. Storie e culture del cinema e dei media in Italia, 2022
Between the late nineteenth century and the World War I, several factors pushed secular and Catho... more Between the late nineteenth century and the World War I, several factors pushed secular and Catholic educational agencies to theorize pedagogical lines specifically aimed at governing individual sexuality. In the Catholic sphere, the pedagogical proposal hinged on an almost complete, even terminological, removal of sex and sexuality: that dimension of human life was veiled and compressed within a bipolar linguistic horizon: at one extreme “purity”, at the other “instincts”, “passions” and “senses”. The construction phase of this pedagogical model – which in its various transformations was central at least until the 1960s – coincided in practice with the first diffusion of cinema, going on to profoundly influence the Catholic approach to the new medium: in the atlas of Catholic pedagogy, cinema was immediately catalogued among the most resolute opponents of the “angelic virtue” of “purity”. This contribution intends to propose a long-term analysis aimed at highlighting the evolution of the relationship between this pedagogical model and film policy in Catholicism, identifying the links between this relationship and the progressive sexualization of Italian cinema.
E. Mosconi (a cura di), Davanti allo schermo. I cattolici tra cinema e media, cultura e società (1940-1970), «Schermi. Storie e cultura del cinema e dei media», n. 3, 2017
Matteo Caponi (a cura di), Santi Patroni. Religione, politica, identità nell’Europa del secondo Novecento, numero monografico della «Rivista di Storia del Cristianesimo», Morcelliana, Brescia, 2017
The essay examines the transformations in the political use of the cult of St. Catherine of Siena... more The essay examines the transformations in the political use of the cult of St. Catherine of Siena through a perspective that the historiography had until now ignored: the film production dedicated to the Saint. During the Mussolini’s regime St. Catherine was proclaimed patroness of Italy, becoming the emblem of a «roman, fascist, Catholic» nation. But in the postwar period a trend of “denationalization” of the cult of the Saint followed. Through the review of a series of failed cinematographic projects I reconstruct the dynamics of this process. I also analyze the complex relationship between St. Catherine and the cinema, that reflects the ambiguities of the ecclesiastical teaching over the film issue. This highlights the plot of motivations that led to the unpopularity of the Saint. In essence, through cinema it is possible to show the distance between the strong investment made by ecclesiastical institutions in the expansion of a cult imbued with dense political symbolism and its weak effects in terms of the “consumption of devotion” to the patron saint of Italy.
«Cabiria. Studi di Cinema», 2017
R. De Berti (a cura di), I cattolici nella fabbrica del cinema e dei media: produzione, opere, protagonisti (1940-1970), 2017
The article focuses on the documentary “Guerra alla guerra” (1948), produced by Orbis, in the bro... more The article focuses on the documentary “Guerra alla guerra” (1948), produced by Orbis, in the broader context of the Catholic film policy, and more specifically under the teaching of Pope Pius XII. Its production, beginning in 1944, was particularly arduous since it involved the leaders
of the Holy See, the ACI and the DC. The film, which was strongly favoured by Luigi Gedda, was initially conceived as a documentary on Pius XII’s charitable actions during World War II, though eventually mutated into a pacifist propaganda film which, in the middle of the Cold War, led to several controversial meanings.
G. Fidotta, A. Mariani (a cura di), Senza LUCE. Visioni ai confini del documentario italiano (1924-1943), in «Immagine. Note di storia del cinema», 2017
Through the analysis of the documentaries on Pope Pius XI produced between the Twenties and the T... more Through the analysis of the documentaries on Pope Pius XI produced between the Twenties and the Thirties, the essay focuses on the strategy followed by the Holy See to outline Pius XI’s media image. The universal auctoritas of the Pontiff had been strengthened by the resolution of the Roman question and this induced the Holy See to try to start an autonomous film production, emancipated from Luce and able to broaden horizons. Rather than competing with the Fascist Institute, the aim was to find canons of production as well as distribution that could compare to the propaganda mechanisms of the regime and, above all, to the commercial strategies of the great international newsreels. In this sense, the documentary Jubilaeum (1935), the first official film of the Holy See, whose problematic productive and distributive events are analyzed in detail in the second part of the essay, is emblematic.
Stefano Pisu, Pierre Sorlin (a cura di), La storia internazionale e il cinema. Reti, scambi e transfer nel '900, 2017
The essay focuses on the international framework of policies that inspired pope Pius XI to produc... more The essay focuses on the international framework of policies that inspired pope Pius XI to produce the Vigilanti cura, an encyclical on motion pictures (1936). The shape of Vatican geopolitics in the area
of cinema can be traced out thanks to documents preserved at the Vatican Secret Archives that refer to campaigns against Soviet cinema and Hollywood, as well as Vatican relations with the Office Catholique International du Cinéma and the International Educational cinematographic Institute. This complex web resulted in an extensive survey of motion pictures (1935) that involved Holy See representatives around the world.
S. Alovisio, A. Faccioli, L. Mazzei (a cura di), Le guerre nel cinema italiano dal 1911 a oggi, «Quaderni del CSCI. Rivista annuale di cinema italiano», 2016
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Books by Gianluca della Maggiore
Mimesis International, 2018
Book Chapters by Gianluca della Maggiore
Cesare Zavattini e l’eredità culturale tra Italia e Cuba, a cura di D.E. Viganò, Magale, Roma , 2022
Cesare Zavattini e la "banalità del bene" Cesare Zavattini y la "banalidad del bien" Gianluca del... more Cesare Zavattini e la "banalità del bene" Cesare Zavattini y la "banalidad del bien" Gianluca della Maggiore Zavattini, Roma in guerra e La porta del cielo Zavattini, Roma en guerra y La puerta del cielo Orio Caldiron Il viaggio nei mondi possibili dei soggetti irrealizzati El viaje a los mundos posibles de los temas no realizados
La Cines Pittaluga e le altre. Modelli di produzione cinematografica tra le due guerre, a cura di D. Felisini, L. Mazzei, D. Orecchia, Accademia University Press, Torino, 2022
Nessun esperimento produttivo ha mai segnato la storia del cinema italiano più della Cines-Pittal... more Nessun esperimento produttivo ha mai segnato la storia del cinema italiano più della Cines-Pittaluga. Nei suoi dieci anni di vita, tanti ne passarono dal 1926 al 1935, la ditta di via Veio fu infatti il laboratorio dove trovarono sede le maggiori innovazioni dell'epoca. Dalla riorganizzazione della distribuzione nazionale per città capozona, all'allestimento di una struttura pubblicitaria capace di operare anche all'estero. Dall'adozione delle nuove tecnologie di ripresa sonora, all'adattamento di queste a linee produttive diverse fra loro. Dal tentativo di instaurare un nuovo rapporto fra impresa privata e potere fascista, agli accordi con le case estere per la realizzazione di film in versione multi-lingue. Dall'interesse per la commedia, all'apertura in direzione del "giallo" e del film storico. Dalla messa in produzione, su modello hollywoodiano, dei primi film canzonetta, alla ricerca, tutta italiana, di un nuovo rapporto con l'opera lirica. Dalla invenzione del format modernista, un po' cabaret e un po' cinegiornale, del 'varietà cinematografico', alla progettazione di nuove serie documentarie d'autore dedicate all'Italia e al suo territorio. Una incredibile varietà di idee e sperimentazioni su cui il volume propone ora uno sguardo ampio e interdisciplinare. Con saggi di A
Dizionario Biografico degli Italiani , 2017
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Papers by Gianluca della Maggiore
of the Holy See, the ACI and the DC. The film, which was strongly favoured by Luigi Gedda, was initially conceived as a documentary on Pius XII’s charitable actions during World War II, though eventually mutated into a pacifist propaganda film which, in the middle of the Cold War, led to several controversial meanings.
of cinema can be traced out thanks to documents preserved at the Vatican Secret Archives that refer to campaigns against Soviet cinema and Hollywood, as well as Vatican relations with the Office Catholique International du Cinéma and the International Educational cinematographic Institute. This complex web resulted in an extensive survey of motion pictures (1935) that involved Holy See representatives around the world.
Books by Gianluca della Maggiore
Book Chapters by Gianluca della Maggiore
of the Holy See, the ACI and the DC. The film, which was strongly favoured by Luigi Gedda, was initially conceived as a documentary on Pius XII’s charitable actions during World War II, though eventually mutated into a pacifist propaganda film which, in the middle of the Cold War, led to several controversial meanings.
of cinema can be traced out thanks to documents preserved at the Vatican Secret Archives that refer to campaigns against Soviet cinema and Hollywood, as well as Vatican relations with the Office Catholique International du Cinéma and the International Educational cinematographic Institute. This complex web resulted in an extensive survey of motion pictures (1935) that involved Holy See representatives around the world.
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