| Corporatism served what? | the interests of nationalism and the consolidation of state power, yet it also served to produce conflicts among the different corporate structures. |
| LUCE addressed what? | The contradictions characteristic of social life under fascism” (Ricci 2008, 76). |
| What did Cine experiment with? | Genres and Sound technology |
| What connection was created through Camerini's 'Gli uomini che mascalzoni (1932)'? | Between music industry and cinema through hit theme song |
| There was an emphasis on what, despite the regime's ostensible opposition to Hollywood? | Fashion, Comsumerism, and Stardom |
| What features does Camerini and Blasetti films share? | Common cultural, if not political, images with European cinema, illuminating for the ways they adapted “foreign” models to Italian popular culture. |
| Finish the quote: "The film validates the tightrope that characterized popular comedy: ..." | it could negotiate with Hollywood appeal as well as with the regime’s modernizing efforts (and with Catholic strictures) by dramatizing not only the lure of freedom but also its dangers." |
| The film 'Gli uomini che mascalonzi (1932)', like other Camerini populist comedies, dramatizes what? | Antagonisms between the lower‐middle‐class prosaic world and the lure of upper‐class glamour |
| In Noris’s transformation from common thief to baroness, and in De Sica’s from aristocrat to beggar, the films’ (Il Signor Max (1937) and Daro un millione (1935) emphasis on impersonation introduces reflections on what? | The cinematic image and on the iconography of the star as unstable visual currency, but as currency that works at the box office. |
| T'Amero Sempre (1933) presents a contrast between what? | The leisurely and extravagant life of the aristocracy and the unpretentious life of workers |
| La Peccatrice (1940) offers what? | Unsettling portrait of femininity and of romance |
| Condottieri (1937) allegorical treatment provides a lesson in the uses of the past that include the reworking of multiple texts and of what other features? | Chivalry, combat, spiritual trials, courtly love, and
religion. |
| What film adopts the form of fairytale to create an allegory of the illegitimate uses of authority? | La Corona di Ferro |
| What similarity does La Corona di Ferro have with popular Hollywood Epics? | "exemplifies the spectacular dimensions of popular cinema, using literary allusion, allegory, and cinematic techniques to provoke associations among an invented past, a problematic present, and a reconciled vision of the future in an unsettled and threatening social and political world." |
| La Signori di Tutti (1934) was part of an attempt to what? | Create a cinema that not only appealed to Italians but also to an international audience |
| Miranda's character in Zaza' and La Signora di Tutti, is identified with what? | The regimes critique of the femme fatale |
| What was the difference between Divas and actresses of the Fascist era? | They were meant to look ordinary and not over the top with costuming and makeup |
| World War II produced a series of films that portrayed what? | Aspects of Italian life at home and in combat on land and sea |
