title: Building the Public Image of the Unknown Soldier. The Italian Case in the Postwar European Context: Memory and Cinema
metadata.name: dc.contributor.author
metadata.value: Dogo, D.
metadata.lang: -
metadata.name: dc.date.accessioned
metadata.value: 2016-11-11T14:42:07Z
metadata.lang: -
metadata.name: dc.date.available
metadata.value: 2016-11-11T14:42:07Z
metadata.lang: -
metadata.name: dc.date.issued
metadata.value: 2016
metadata.lang: -
metadata.name: dc.identifier.citation
metadata.value: Dogo D. Building the Public Image of the Unknown Soldier. The Italian Case in the Postwar European Context: Memory and Cinema, Modern History of Russia, no. 2, 2016. P. 236–251.
metadata.lang: en_GB
metadata.name: dc.identifier.other
metadata.value: 10.21638/11701/spbu24.2016.212
metadata.lang: -
metadata.name: dc.identifier.uri
metadata.value: http://hdl.handle.net/11701/5649
metadata.lang: -
metadata.name: dc.description.abstract
metadata.value: This articles outlines the emergence and transformation of one of the most popular Italian myths arising from the First
  World War: the image of the unknown soldier. It examines how films and their motifs and characters from the early 1920s until the
  early 1930s evoked and revived historical events seen as extremely valuable by a society that had lived through them. Outlined first is
  how the popular image of the First World War Italian warrior (i.e. the “Milite Ignoto” or “Unknown Soldier”) was constructed. Second,
  the article chronicles how this image became a subject for film, and how that choice affected the themes of Italian cinematographic
  production, notably non-fictional, in the period spanning from the First World War’s end until the ascent of Fascism and its aftermath.
  The role of full-length Gloria. Apoteosi del soldato ingot (Glory. Apotheosis of the Unknown Soldier), Federazione Cinematografica
  Italiana / Unione Fototecnici Cinematografici, 1921) was a prominent one for it showed how the image of the unknown soldier began to
  acquire the dimension of a myth. Some fragments of its footage for example—where the tomb of the Milite Ignoto (at the Altare della
  Patria at Vittoriano) was filmed—served in the making of the film Gloria (Glory) by Roberto Omegna in 1934 which was later distributed
  by the Fascists’ Educational Film Union-LUCE. The article thus details how Italians’ postwar image of the unknown soldier changed
  due to the Fascists’ manipulation of memory.
metadata.lang: en_GB
metadata.name: dc.language.iso
metadata.value: ru
metadata.lang: en_GB
metadata.name: dc.publisher
metadata.value: St Petersburg State University
metadata.lang: en_GB
metadata.name: dc.relation.ispartofseries
metadata.value: Modern History of Russia;Issue 2(16)
metadata.lang: -
metadata.name: dc.subject
metadata.value: First World War
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: Memory Studies
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: Unknown Soldier
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: History of Italian Cinema
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: History of Italian Fascism
metadata.lang: en_GB
metadata.name: dc.title
metadata.value: Building the Public Image of the Unknown Soldier. The Italian Case in the Postwar European Context: Memory and Cinema
metadata.lang: en_GB
metadata.name: dc.type
metadata.value: Article
metadata.lang: en_GB
resources.filename: 12-Dogo.pdf
resources.url: https://dspace.spbu.ru/bitstream/11701/5649/1/12-Dogo.pdf
resources.format: Adobe PDF
resources.size: 1,08 MB