Alessia Ricciardi's After la dolce vita : a cultural prehistory of Berlusconi's PDF

By Alessia Ricciardi

ISBN-10: 0804781494

ISBN-13: 9780804781497

ISBN-10: 0804781508

ISBN-13: 9780804781503

ISBN-10: 080478258X

ISBN-13: 9780804782586

This booklet chronicles the death of the supposedly leftist Italian cultural institution through the lengthy Eighties. in the course of that point, the nation's literary and highbrow forefront controlled to lose the prominence passed it after the top of worldwide battle II and the defeat of Fascism. What emerged as an alternative was once a uniquely Italian model of cultural capital that intentionally refrained from any serious wondering of the existing order. Ricciardi criticizes the advance of this new hegemonic association in movie, literature, philosophy, and paintings feedback. She makes a speciality of a number of turning issues: Fellini's futile, late-career critique of Berlusconi-style advertisement tv, Calvino's overdue flip to reactionary belletrism, Vattimo's nihilist and conservative responses to French poststructuralism, and Bonito Oliva's move of artwork commodification, Transavanguardia.

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Not surprisingly, Vattimo makes Adorno and the thinkers of the Frankfurt School into favorite targets of his polemic. He repeats throughout his writings that Adorno’s apocalyptic prophecies regarding the mediadriven culture of sameness have not come to fruition in a world dominated by subcultures, thanks precisely to the ubiquity of the media. However, in the light of Berlusconi’s advance from a fortune in real estate to control of the nation’s presses and broadcast outlets and ultimately to abuse of political power to exempt himself from the law, Italy seems as though it may be exactly the wrong setting in which to complain about the ­limits of Adorno’s critique of the culture industry.

This point is made in a subsequent scene during a soirée set in ­Steiner’s apartment. Steiner hosts a gathering of his cosmopolitan, artistically inclined friends, a party to which he has invited Marcello and his unhappy girlfriend, Emma. Several speakers by turns deliver epigrammatic pronouncements on various subjects, but the overall impression is one of tiresome cliché. ) A few moments later, Marcello notices a painting on the wall by that exemplary Italian modernist painter Giorgio Morandi, and expresses his admiration to Steiner, who replies that Morandi is the artist he loves most on account of the painter’s clarity and precision: “Such power, precision and rigor.

A convenient excuse to do whatever you like. . I am afraid you are becoming an endearing buffoon, my dear. . 51 That this episode was not included in the finished film might be explained in various ways, but the chief suggestion I wish to make is that it is redundant. We have already observed Steiner’s function in the narrative as a kind of substitute for Marcello’s potential suicide. A more analytic or nuanced representation of the defeat of his residual intellectual ambition would have been superfluous, particularly given the film’s interest in mapping the new cultural and intellectual territory that lies beyond modernism.

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After la dolce vita : a cultural prehistory of Berlusconi's Italy by Alessia Ricciardi


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