ABSTRACT
This book has the rare virtue of being entertaining and well informed at the same time. It succeeds in not being pedantic while simultaneously developing a serious and rigorous critique of a complex cultural phenomenon that exists at the intersection of a multiplicity of interacting institutional, cultural, and discursive practices. The hermeneutical strategy the author adopts to account for this complexity is flexible and open to interdisciplinary suggestions whose co-ordinates he discusses in his methodological ‘Introduction’ before commencing his exploration of a wide repertory of film produced and released in Italy in the fascist period.
