The Circulation of Presence: Rossellini, Fellini, and the Boundaries of Religious Film
As Italian films migrated beyond Italy to the US after World War II, they became absorbed within secularization accounts of American culture. Neorealist films were celebrated for their transgressive qualities, challenging the moral censorship regime imposed upon cinema by the Catholc Church and the...
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| Format: | Electronic Article |
| Language: | English |
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Brepols
2021
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| In: |
Annali di scienze religiose
Year: 2021, Volume: 14, Pages: 67-99 |
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Volltext (lizenzpflichtig) Volltext (lizenzpflichtig) |
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| 520 | |a As Italian films migrated beyond Italy to the US after World War II, they became absorbed within secularization accounts of American culture. Neorealist films were celebrated for their transgressive qualities, challenging the moral censorship regime imposed upon cinema by the Catholc Church and the Production Code in Hollywood. Movies such as Roberto Rossellini’s Il Miracolo played an important role in loosening the restrictions under which movies were exhibited in America and helped create conditions of a cinematic sphere freed from religious regulation. Yet this secularizing role of Italian movies in American culture has obscured a more complex Catholicism at work in the films of Rossellini and Federico Fellini. This essay draws upon recent theories in religious studies to illuminate how the films of both directors resist the modern reduction of religion to absence and are instead informed by a Catholic sense of religious presence.Quando i film italiani, dopo la seconda guerra mondiale vennero diffusi fuori dall’Italia vennero assorbiti dai racconti di secolarizzazione della cultura americana. I film neorealisti furono celebrati per le loro qualita trasgressive, sfidando il regime di censura morale imposto al cinema dalla Chiesa cattolica e dal Codice di Produzione di Hollywood. Film come Il Miracolo di Roberto Rossellini giocarono un ruolo importante nell’allentare le restrizioni sotto le quali i film venivano esibiti in America e aiutarono a creare le condizioni di una sfera cinematografica liberata dalla regolamentazione religiosa. Eppure questo ruolo secolarizzante dei film italiani nella cultura americana ha oscurato un piu complesso cattolicesimo all’opera nei film di Rossellini e Fellini. Questo saggio attinge alle recenti teorie degli studi religiosi per mostrare come i film di entrambi i registi resistano alla moderna riduzione della religione all’assenza e siano invece informati da un senso cattolico della presenza religiosa. | ||
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