[Autom. eng. transl.] This essay promises to show the phylogenesis of a genre that while enjoying full recognition only in the productive dimension of the promotional documentary (with Altman, is a genre a production category that is defined starting from the tautology: tourist film), knows in the Fascist era his first surprises in the field of fiction feature films, artistic documentaries and newborn family films. Just by observing the formal and fruition differences and constants that characterize the tourist film in its indifferent wandering from an institutional way to another, it is possible to highlight the social practices of modernity implied in the genre, its points of textual, iconographic and narrative fixation, and how those (practices) contribute to redefining the identity of the Italians, these (the points of textual fixation) to build that image of the Bel Paese that is so dear to us.
|Translated title of the contribution||[Autom. eng. transl.] Evidence of modernity: the "tourist" film in the 1930s|
|Title of host publication||Schermi di regime. Cinema italiano degli anni trenta: la produzione e i generi|
|Number of pages||12|
|Publication status||Published - 2010|
- cinema italiano
- film turistico
- generi cinematografici