Marco Paoli

Carlo Lizzani's Il gobbo (1960): A cinematic exploration of socially 'engaged' post-war criminality

Abstract This article traces Carlo Lizzanis depiction of the changing nature of Italian society from the Second World War to the post-war era, his film Il gobbo/The Hunchback of Rome highlighting the different fates of individuals who attempt to integrate themselves within the evolving social structure. It will be argued that the director uses a range of emotional and intellectual strategies in the film, in particular the action and visual sensationalism that were typical of contemporary American cinema, to compel viewers into vividly experiencing the destiny of these individuals and to appreciate the socio-political implications of Lizzanis often disturbing cinematic representation of this historical context. Of importance in this regard are the techniques that the director uses to elicit identification and empathy on the part of viewers with the films characters: this study will discuss Murray Smiths concepts of viewer alignment and allegiance in the context of criminal characters such as the Hunchback, the films protagonist.

Noir de Noir. Un'indagine pluridisciplinare, Testi Mobili

examine sources that until now have been largely unexplored and yet which cast new light on neglected aspects of recent Italian history. There is still a lot to say about the nature of Mussolini’s Italy in general and the racial politics of the fascist regime in particular – a lot that the English-speaking world, in particular, ignores. Luigi Reale’s book gives English readers an insight into a tragic and often-overlooked aspect of Italian history. His book is an additional step in the process by which Italians are coming to terms with their past. It contributes further to exploding the ‘Italiani brava gente’ die-hard myth.