The Imaginary Reich. Construction of the Mythology of Nazism in La Caduta degli Dei and Il Portiere di Notte
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Published
02-10-2024
Xosé Carlos Veiga García
Universidade de Santiago de Compostela
https://orcid.org/0000-0001-6165-193X
Abstract
We deal with the process by which in the West of the 1960s and 1970s a mythology of Nazism began to be built that dissociated it from historical fact and mnemonic discourse, thus allowing it to become a habitual inspiration and source of all kinds of fictional works. We do it through an in-depth analysis of two films, La Caduta degli Dei (Visconti, 1969) and Il Portiere di Notte (Cavani, 1974), very representative of the sadiconazista phenomenon of Italian cinema, which caused great controversy in its time but, undoubtedly, contributed to the opening of frames necessary for the entry into the public space of atypical and disruptive forms of representation of the past. We defend the interpretation that this process consisted in giving the constitutive elements of the imaginary about National Socialism an archetypal and metaphorical value.
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Keywords
nazism, cinema, historical culture, sadiconazista, representations
References
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GARCÍA DEL VALL, Arnoldo, Liliana Cavani, Editorial Fundamentos, Madrid, 1980.
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GRIFFIN, Roger, Fascism, Alianza Editorial, Madrid, 2019.
GUARNER ALONSO, José Luis, Conocer Visconti y su obra, Dopesa, Barcelona, 1978.
HAKE, Sabine, «Art and exploitation: On the fascist imaginary in 1970s Italian cinema», Studies in European Cinema, vol. 7, n. 1, 2010, pp. 11-19.
HOBSBAWN, Eric, Age of extremes. The short twentieth century, 1914 – 1991, Abacus, Londres, 1995.
IGRA, Samuel, Germany’s national vice, London Quality Press, Londres, 1945.
KAUFMAN, Theodore N., Germany must perish!, Argyle Press, Newark, 1941.
KEYSER, Lester J., «Three Faces of Evil: Fascism in Recent Movies», Journal of Popular Film, vol. 4, n. 1, 1975, pp. 21-31
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KOVEN, Mikel T., «‘The Film you are about to see is Based on Documented Fact’: Italian Nazi Sexploitation Cinema», en MATHJIS, Ernest, y MENDIK, Xavier (eds.), Alternative Europe: eurotrash and exploitation cinema since 1945, Wallflower, Nueva York, 2004, pp. 19-31.
KRAUTHEIM, Grame, Masquerades of self-erasure: pornography and corporeal memory in Liliana Cavani’s The Night Porter (tesis de máster), University of British Columbia, 2009.
KULKA, Tomas, «El kitsch», en idem., El kitsch, Casimiro Libros, Madrid, 2011, pp. 9-25.
LANG-LENTON, Francisco Javier Ponce, «El señor paga: Luchino Visconti, cineasta homosexual», en MACCANTI, Luis, Luchino Visconti (1906-2006), Universidad de Las Palmas de Gran Canaria, Las Palmas de Gran Canaria, 2006, pp. 49-62.
LATHAM, Karen Bevacqua, Le temps retrouvé: memory and revision of World War II in french and italian film (tesis doctoral), University of Iowa, Iowa, 1997.
LEVI, Primo, I sommersi e i salvati, Einaudi, Turín, 1991 [1986].
LOZANO, Álvaro, El Holocausto y la cultura de masas, Editorial Melusina, Santa Cruz de Tenerife, 2010.
LUMSDEN, Robin, The Allgemeine-SS, Oxford, Osprey, 2002.
MAGNY, Joël, «‘Portier de nuit’: triomphe de l’amour fou ou ambiguïté de l’ambiguïté? », Cinéma, n. 306, p. 54.
MANCHESTER, William, The Arms of Krupp, 1587-1968, Toronto, Little Brown Company, 1968 [1964].
MARCUS, Millicent Joy, Italian film in the Shadow of Auschwitz, Toronto, University of Toronto Press, 2017.
MARRONE, Gaetana, The gaze and the labyrinth: the cinema of Liliana Cavani, Princetown University Press, Chichester, 2000.
MCKEE, Robert, Story. Substance, Structure, Style, and the Principles of Screenwriting, Harper Collins Publishers, Nueva York, 1997.
MIRET JORBA, Rafael, Luchino Visconti: la razón y la pasión, Fabregat, Barcelona, 1984.
MORGENTHAU, Henry, Germany is our Problem, Harper & Brothers Publishers, Nueva York, 1945.
MOVIEMAG, “Entrevista a Luchino Visconti: ‘La caduta degli dei’”, en RaiPlay.it, 2016, disponible en
NOWELL-SMITH, Geoffrey, Luchino Visconti, British Film Institute, Londres, 2003.
PÁEZ, Dario R., y LIU, James Hou-Fou, «Collective Memory of Conflicts», en BAR-TAL, Daniel, Intergroup conflicts and their resolution: a social psychological perspective, Psychology Press, 2011, pp. 105-124.
PAYNE, Stanley G., «Interpretations of fascism», en GRIFFIN, Roger y FELDMAN, Matthew, Fascism: The nature of fascism, Taylor & Francis, 2004, pp. 56-57.
PETERS, Michael A., « ‘The fascism in our heads’: Reich, Fromm, Foucault, Deleuze and Guattari – the social pathology of fascism in the 21st century», Educational Philosophy and Theory, s. n., 2020, pp. 1-9.
PETERSEN, Jens, «Il mito della Resistenza nella cultura italiana». Annali dell’ Istituto storico italo-germanico in Trento, n. 19, 1993, pp. 679-693.
PICART, Caroline Joan (Kay) S., y FRANK, David A., Frames of Evil. The Holocaust as horror in american film, Southern Illinois University Press, Carbondale, 2006.
POGGIOLINI, Ilaria, «Translating memories of warand co-belligerency into politics: the Italian post-war experience», en MÜLLER, Jan-Werner, Memory & Power in post-war europe, Cambridge University Press, Cambridge, 2002.
RAPAPORT, Lynn, «Holocaust pornography: profaning the sacred in Ilsa, She-Wolf of the SS», Shofar: an Interdisciplinary Journal of Jewish Studies, vol. 22, n. 1, 2003, pp. 53-79.
RAVETTO, Kriss, The unmaking of fascist aesthetics, University of Minnesota Press, Mineápolis, 2001.
REICH, Wilhelm, La psicología de masas del fascismo, Roca, México D. F., 1973 [1933].
RENGA, Dana, «Staging memory and trauma in french and italian holocaust film», Romanic Review, mayo-noviembre de 2006, vol. 97, n. 3-4, pp. 461-482.
RICHARDSON, Michael D., «Sexual deviance and the naked body in cinematic representations of nazis», en MAGILOW, Daniel H.; BRIDGES, Elisabeth, y VANDER LUGT, Kristin T. (eds.), Nazisploitation!: the Nazi image in low-brow cinema and culture, Nueva York, Continuum, pp. 21-37 [edición digital].
RONCORONI, Stefano, «Dialogo con l’autore», en La caduta degli dei, Bolonia, Editorial Cappelli, 1969.
ROSENSTONE, Robert A., El pasado en imágenes. El desafío del cine a nuestra idea de la historia, Ariel, Barcelona, 1997.
SARRIS, Andrew, «The nasty Nazis: History or mythology?», The Village Voice, vol. 19, n. 42, 17 de octubre de 19174, pp. 76-77.
SCHERR, Rebecca, «The uses of memory and the abuses of fiction: sexuality in Holocaust fiction and memory», Other Voices. The (e)Journal of Cultural Criticism, vol. 2, n. 1, 2000, pp. 1-13
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