ABSTRACT
Today, it is just about admitted by the majority of film critics (as the certain effect of a certain amount of pressure) that every film is an ideological product, that it is made in and diffuses an ideology, and that by dint of this fact, however “artistic” it may claim to be, it has something to do with politics. Two symptoms of this recognition of the ideological status of the cinema can be seen in: 1. the increasing number of special issues dedicated to “political cinema” or “politics and cinema” in magazines and journals which until now have had a predominantly cinephilic orientation; and 2. the inflated number of films in the cinema market with an explicitly political theme.
