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 e-book chronicles the death of the supposedly leftist Italian cultural institution in the course of the lengthy Eighties. in the course of that point, the nation's literary and highbrow leading edge controlled to lose the prominence passed it after the top of worldwide battle II and the defeat of Fascism. What emerged as a substitute was once a uniquely Italian model of cultural capital that intentionally kept away from any severe wondering of the present order. Ricciardi criticizes the improvement of this new hegemonic association in movie, literature, philosophy, and artwork 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 circulate of paintings commodification, Transavanguardia.

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Extra resources for After la dolce vita : a cultural prehistory of Berlusconi's Italy

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However, the film’s visualization of the progress of Italian culture from elation to melancholic, disenchanted weariness is one of this culture’s most powerful condemnations of the nihilism of the economic miracle. Fellini desperately attempts to defend against this nihilism through his searching, cinematic reinterpretation of modernism. There is no doubt, then, that even though the film criticizes the rigidity of an ossified modernism in the figure of Steiner, it also pursues through its own, original, Cubist methods an aesthetic alternative to the banalizing influence of commodity culture.

23 Not only does the film seem lacking in any “authorial intent” to cele­ brate the postmodern, as Burke rightly remarks, but it suggests an attitude that I would say already exemplifies a certain weariness and suspicion toward  Sweetness postmodern mass culture. The film begins with fascination for the celebrity culture epitomized by Sylvia and the paparazzi, but it ends by mourning the death of Marcello’s intellectual ambitions as symbolized by his change of vocation from journalist to press agent.

This culture combines a halfhearted reaffirmation of the aesthetics of modernism with a fervent embrace of capitalism and political conservatism. Italy thus achieves what might be thought of as a perverse pastiche of the Gramscian ideal of national-popular culture. In the economy of such a culture, Berlusconi represents a new personification of the Machiavellian prince: a media tycoon and self-made politico who has established by corporate means the sort of national cultural hegemony that Gramsci hoped would one day belong to the political left.

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


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