In Italy, the rise of fascism in 1922 marked the beginning of a massive operation aimed at standardizing, under the banner of ideology, every aspect of political and social life, including artistic and cultural events. The program of indoctrination of the masses and construction of consensus put in place by the fascist regime relied mainly on the widespread use of a mass-culture industry. First between the 20s and 30s, then more heavily in the late-30s and 40s, fascist ideology tried to infiltrate the whole spectrum of cultural production, starting with its (only apparently) more harmless mass-media manifestations, especially radio and cinema.
The intellectuals of the fascist regime fully understood the persuasive and manipulative power inherent to the new media: they recognized above all the political-cultural function of cinema, which gradually became the medium par excellence for influencing collective behavior. The prevailing, in the fascist cultural policy, of Giuseppe Bottai’s position, who favored a non-invasive use of propaganda, determined the preference for films in a light comic style that were able to deal with international models, primarily Hollywood. Italian fiction movies of the 20s and 30s––particularly the comic-sentimental genre known as “white telephones”––were essentially products of escapism, intended to be passively received. Not requiring any particular cultural or intellectual background, they reached people of all social classes. Such routine cinematic products were accepted as a given: as entertainment products rated for consumption, they favored abandonment, passive vision, uncritical reception. The words “Do not speak about politics, here” (Qui non si parla di politica), affixed to the walls of public venues, were a fake truce offer aimed at circumventing the spectator’s critical defenses.
Francesco Finocchiaro, Musica e cinema nel ventennio fascista, “Quaderni del CSCI”, 15, 2019, Special Issue All’ascolto del cinema italiano: musiche, voci, rumori, edited by R. Calabretto, M. Cosci, and E. Mosconi, pp. 24–30 (read it here).