italian neorealism aitalian neorealism and the Andreotti Law(
Francis van den Heuvel
I want to thank you for your help. I got the information I was missing=
.=20
Thanks a lot.
Claude Herdhuin =20
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From: Aaron <aaron....@yale.edu>
To: Multiple recipients of list SCREEN-L <SCRE...@UA1VM.UA.EDU>
Subject: Re: italian neorealism aitalian neorealism and the Andreotti L=
aw(=20
1949)
Date: mercredi, d=E9cembre 04, 1996 11:21
At 01:43 PM 12/4/96 -0500, you wrote:
>I am writing a paper about neorealism and I read about a law passed by
>Giulio Andreotti in 1949 which, according to the author, put an end to
the
>italian neorealism in the cinema industry. Could anyone give me more
>information about this law?
>
This is from Mira Liehm's *Passion and Defiance*:
<paraindent><param>left</param>The law was introduced by Giulio
Andreotti, then a member of the government, a man close to Prime Minist=
er
Alcide De Gasperi. On the one hand, the law protected the national mov=
ie
industry against American competition by taxing imported films and by
imposing compulsory programming of Italian films for eighty days a year
in every theater, thus tripling the distribution of Italian productions
on the home market. On the other hand, "la legge Andreotti" reintroduc=
ed
strict pre censorship, putting the state in control of the movie
industry. All scripts were to be submitted to a special ministerial
commission, and only those that met with official approval were granted
production loans. (Thus, typically, the farcical comedy *Don Camillo*
was allotted 216 million lire whereas *La Terra Trema* received only 6
million.) This system drastically reduced attempts at filming
controversial subjects and discouraged producers from supporting films
that were unlikely to receive financial assistance.
</paraindent>This part of the book goes on to describe some of the more
specific effects (reduced quality of films) and targets (De Sica, De
Santis...) of the Andreotti law. The book should be easy to find shoul=
d
you need more info. =20
Buon lavoro!
Aaron Curtiss
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