Cinema at War

The characteristics of war films from the early years of the twentieth century have been explored by a number of film historians. ¹ Consequently, we know a lot about the methods of production, and even the critical reception of these films. However, there has been little work on the theoretical discourses produced by war films. This lack is especially problematic in Italy, the country in which these discourses fulfilled, particularly from 1911 to 1917, a fundamental role, both in the promotion and organization of the cinematic experience.