This volume is part of the recent interest in the study of religion and popular media culture (cinema in particular), but it strongly differs from most of this work in this maturing discipline. Contrary to most other edited volumes and monographs on film and religion, Moralizing Cinema will not focus upon films (cf. the representation of biblical figures, religious themes in films, the fidelity question in movies), but rather look beyond the film text, content or aesthetics, by concentrating on the cinema-related actions, strategies and policies developed by the Catholic Church and Catholic organizations in order to influence cinema. Whereas the key role of Catholics in cinema has been well studied in the USA (cf. literature on the Legion of Decency and on the Catholic influenced Production Code Administration), the issue remains unexplored for other parts of the world. The book includes case studies on Argentina, Belgium, France, Ireland, Italy, Luxemburg, the Netherlands, and the USA.

chapter |15 pages

Catholics, Cinema and Power

An Introduction
ByDaniel Biltereyst, Daniela Treveri Gennari

part I|65 pages


chapter 1|16 pages

Resisting the Lure of the Modern World

Catholics, International Politics and the Establishment of the International Catholic Office for Cinema (1918–1928)
ByGuido Convents

chapter 2|14 pages

The Roman Catholic Church, Cinema and the “Culture of Dialogue”

Italian Catholics and the Movies after the Second World War
ByDario Edoardo Viganò

chapter 4|16 pages

Catholicism and Mexican Cinema

A Secular State, a Deeply Conservative Society and a Powerful Catholic Hierarchy
ByFrancisco Peredo Castro

part II|52 pages


chapter 5|15 pages

Jean Bernard's Fight for ‘Good' Cinema in Luxembourg

ByPaul Lesch

chapter 6|14 pages

An Alternative Way of Moralizing Cinema

Father Flipo's Remedy for the Catholic Church's Propaganda Failure in France (1945–1962)
ByMélisande Leventopoulos

chapter 7|21 pages

A Triple Alliance for a Catholic Neorealism

Roberto Rossellini According to Félix Morlion, Giulio Andreotti and Gian Luigi Rondi
ByElena Dagrada

part III|51 pages

Technology and Production

chapter 8|21 pages

A Catholic Voice in Talking Pictures

The International Eidophon Company (1930–1934)
ByKarel Dibbets

chapter 9|15 pages

Pius XII as Actor and Subject

On the Representation of the Pope in Cinema during the 1940s and 1950s
ByFederico Ruozzi

chapter 10|13 pages

The Failed Project of a Catholic Neorealism

On Giulio Andreotti, Félix Morlion and Roberto Rossellini
ByTomaso Subini

part IV|50 pages

Censorship and Control

chapter 11|14 pages

Protectionism and Catholic Film Policy in Twentieth-Century Ireland

ByKevin Rockett

chapter 12|18 pages

A Case of Entente Cordiale between State and Church

Catholics and Film Control in Argentina (1954–1984)
ByMaria Elena de las Carreras

chapter 13|16 pages

The ‘Ideal Film'

On the Transformation of the Italian Catholic Film and Media Policy in the 1950s and the 1960s
ByMariagrazia Fanchi

part V|49 pages

Exhibition and Cinema-Going Experiences

chapter 14|16 pages

Separating the Sheep from the Goats

Gendering Space in the Cinema Auditorium in Rucphen (1929)
ByThunnis Van Oort

chapter 15|17 pages

“I Think Catholics Didn't Go to the Cinema”

Catholic Film Exhibition Strategies and Cinema-Going Experiences in Belgium, 1930s–1960s
ByDaniel Biltereyst

chapter 16|14 pages

Moralizing Cinema While Attracting Audiences

Catholic Film Exhibition in Post-War Rome
ByDaniela Treveri Gennari