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On December 31, 1924, Italian Fascist Mussolini ordered the suppression of opposition newspapers. A common tactic among dictators is the suppression opposition newspapers it seems. From the article:
"In Italy, freedom of press is guaranteed by the Italian Constitution of 1948. Censorship in Italy was applied especially during the Fascist Regime of Benito Mussolini (1922-1945).
Censorship in Italy under Fascism (1922-1944) Edit
Censorship in Italy was not created with Fascism, nor did it end with it, but it had heavy influence in the life of Italians under the Regime.
The main goals were, concisely:
Control over the public appearance of the regime, also obtained with the deletion of any content that could allow opposition, suspicions, or doubts about fascism.
Constant check of the public opinion as a measure of consensus.
Creation of national and local archives (schedatura) in which each citizen was filed and classified depending on their ideas, habits, relationship and any shameful acts or situations which had arisen; in this way, censorship was used as an instrument for the creation of a police state.
Censorship fought ideological and defeatist contents, and any other work or content that could enforce disturbing cultural themes.
Censorship in public communications
This branch of the activity was mainly ruled by the Ministero della Cultura Popolare (Ministry of popular culture), commonly abbreviated as Min. Cul.Pop. (with a weird assonance). This administration had competence on all the contents that could appear in newspapers, radio, literature, theatre, cinema, and generally any other form of communication or art.
In literature, editorial industries had their own controlling servants steadily on site, but sometimes it could happen that some texts reached the libraries and in this case an efficient organization was able to capture all the copies in a very short time.
An important note on the issue of censoring foreign language use: with the "Autarchia" (the general maneuver for self-sufficiency) foreign languages had effectively been banned, and any attempt to use a non-Italian word resulted in a formal censoring action. Reminiscences of this ban could be detected in the dubbing of all foreign movies broadcast on RAI (Italian state owned public service broadcaster): captioning is very rarely used.
Censorship did not however impose heavy limits on foreign literature, and many of the foreigner authors were freely readable. Those authors could freely frequent Italy and even write about it, with no reported troubles.
In 1930 it was forbidden to distribute books that contained Marxist, Socialist or Anarchist like ideologies, but these books could be collected in public libraries in special sections not open to the general public. The same happened for the books that were sequestrated. All these texts could be read under authorization for scientific or cultural purposes, but it is said that this permission was quite easy to obtain. In 1938 there were public bonfires of forbidden books, enforced by fascists militias ("camicie nere"): any work containing themes about Jewish culture, freemasonry, communist, socialist ideas, were removed also by libraries (but it has been said that effectively the order was not executed with zeal, being a very unpopular position of the Regime). To avoid police inspections, many librarians preferred to hide or privately sell the texts, which in many cases were found at the end of the war .[citation needed]
Censorship and press
It has been said that Italian press censored itself before the censorship commission could do it. Effectively the actions against press were formally very few, but it has been noted that due to press hierarchical organization, the regime felt to be quite safe, controlling it by the direct naming of directors and editors through the "Ordine dei Giornalisti".
Most of the intellectuals that after the war would have freely expressed their anti-fascism, were however journalists during fascism, and quite comfortably could find a way to work in a system in which news directly came from the government (so-called "veline", by the tissue-paper used for making as many copies as possible using type-writers with carbon paper) and only had to be adapted to the forms and the styles of each respective target audience.
Newer revisionists talk about a servility of journalists, but are surprisingly followed in this concept by many other authors and by some leftist ones too, since the same suspect was always attributed to Italian press, before, during and after the Ventennio, and still in recent times the category has not completely demonstrated yet its independence from "strong powers". A well known Italian journalist writer, Ennio Flaiano, certainly an anti-fascist, used to say that journalists don't need to care of "that irrelevant majority of Italians".
Independent (illegal) press used clandestine print and distribution, and were mainly connected with the activities of local political groups.
The control on legitimate papers was practically operated by faithful civil servants at the printing machines and this allows reporting a common joke affirming that any text that could reach readers had been "written by the Duce and approved by the foreman".
Fascist censorship promoted papers with wider attention to mere chronology of delicate political moments, to distract public opinion from dangerous passages of the government. Press then created "monsters" or focused on other terrifying figures (murderers, serial killers, terrorists, pedophiles, etc.). When needed, an image of a safe ordered State was instead to be stressed, then police were able to capture all the criminals and, as a famous topic says, trains were always in perfect time. All these maneuvers were commonly directed by MinCulPop directly.
After fascism, democratic republic did not change the essence of the fascist law on press, which is now organized as it was before, like the law on access to the profession of journalist remained unaltered.
About satire and related press, Fascism was not more severe, and in fact a famous magazine, Marc'Aurelio, was able to live with little trouble. In 1924-1925, during the most violent times of fascism (when squads used brutality against opposition) with reference to the death of Giacomo Matteotti killed by fascists, Marc'Aurelio published a series of heavy jokes and "comic" drawings describing dictator Benito Mussolini finally distributing peace; eternal peace, in this case. Marc'Aurelio however would have turned to a more integrated tone during the following years and in 1938 (the year of the racial laws) published tasteless anti-Semitic contents."
"In Italy, freedom of press is guaranteed by the Italian Constitution of 1948. Censorship in Italy was applied especially during the Fascist Regime of Benito Mussolini (1922-1945).
Censorship in Italy under Fascism (1922-1944) Edit
Censorship in Italy was not created with Fascism, nor did it end with it, but it had heavy influence in the life of Italians under the Regime.
The main goals were, concisely:
Control over the public appearance of the regime, also obtained with the deletion of any content that could allow opposition, suspicions, or doubts about fascism.
Constant check of the public opinion as a measure of consensus.
Creation of national and local archives (schedatura) in which each citizen was filed and classified depending on their ideas, habits, relationship and any shameful acts or situations which had arisen; in this way, censorship was used as an instrument for the creation of a police state.
Censorship fought ideological and defeatist contents, and any other work or content that could enforce disturbing cultural themes.
Censorship in public communications
This branch of the activity was mainly ruled by the Ministero della Cultura Popolare (Ministry of popular culture), commonly abbreviated as Min. Cul.Pop. (with a weird assonance). This administration had competence on all the contents that could appear in newspapers, radio, literature, theatre, cinema, and generally any other form of communication or art.
In literature, editorial industries had their own controlling servants steadily on site, but sometimes it could happen that some texts reached the libraries and in this case an efficient organization was able to capture all the copies in a very short time.
An important note on the issue of censoring foreign language use: with the "Autarchia" (the general maneuver for self-sufficiency) foreign languages had effectively been banned, and any attempt to use a non-Italian word resulted in a formal censoring action. Reminiscences of this ban could be detected in the dubbing of all foreign movies broadcast on RAI (Italian state owned public service broadcaster): captioning is very rarely used.
Censorship did not however impose heavy limits on foreign literature, and many of the foreigner authors were freely readable. Those authors could freely frequent Italy and even write about it, with no reported troubles.
In 1930 it was forbidden to distribute books that contained Marxist, Socialist or Anarchist like ideologies, but these books could be collected in public libraries in special sections not open to the general public. The same happened for the books that were sequestrated. All these texts could be read under authorization for scientific or cultural purposes, but it is said that this permission was quite easy to obtain. In 1938 there were public bonfires of forbidden books, enforced by fascists militias ("camicie nere"): any work containing themes about Jewish culture, freemasonry, communist, socialist ideas, were removed also by libraries (but it has been said that effectively the order was not executed with zeal, being a very unpopular position of the Regime). To avoid police inspections, many librarians preferred to hide or privately sell the texts, which in many cases were found at the end of the war .[citation needed]
Censorship and press
It has been said that Italian press censored itself before the censorship commission could do it. Effectively the actions against press were formally very few, but it has been noted that due to press hierarchical organization, the regime felt to be quite safe, controlling it by the direct naming of directors and editors through the "Ordine dei Giornalisti".
Most of the intellectuals that after the war would have freely expressed their anti-fascism, were however journalists during fascism, and quite comfortably could find a way to work in a system in which news directly came from the government (so-called "veline", by the tissue-paper used for making as many copies as possible using type-writers with carbon paper) and only had to be adapted to the forms and the styles of each respective target audience.
Newer revisionists talk about a servility of journalists, but are surprisingly followed in this concept by many other authors and by some leftist ones too, since the same suspect was always attributed to Italian press, before, during and after the Ventennio, and still in recent times the category has not completely demonstrated yet its independence from "strong powers". A well known Italian journalist writer, Ennio Flaiano, certainly an anti-fascist, used to say that journalists don't need to care of "that irrelevant majority of Italians".
Independent (illegal) press used clandestine print and distribution, and were mainly connected with the activities of local political groups.
The control on legitimate papers was practically operated by faithful civil servants at the printing machines and this allows reporting a common joke affirming that any text that could reach readers had been "written by the Duce and approved by the foreman".
Fascist censorship promoted papers with wider attention to mere chronology of delicate political moments, to distract public opinion from dangerous passages of the government. Press then created "monsters" or focused on other terrifying figures (murderers, serial killers, terrorists, pedophiles, etc.). When needed, an image of a safe ordered State was instead to be stressed, then police were able to capture all the criminals and, as a famous topic says, trains were always in perfect time. All these maneuvers were commonly directed by MinCulPop directly.
After fascism, democratic republic did not change the essence of the fascist law on press, which is now organized as it was before, like the law on access to the profession of journalist remained unaltered.
About satire and related press, Fascism was not more severe, and in fact a famous magazine, Marc'Aurelio, was able to live with little trouble. In 1924-1925, during the most violent times of fascism (when squads used brutality against opposition) with reference to the death of Giacomo Matteotti killed by fascists, Marc'Aurelio published a series of heavy jokes and "comic" drawings describing dictator Benito Mussolini finally distributing peace; eternal peace, in this case. Marc'Aurelio however would have turned to a more integrated tone during the following years and in 1938 (the year of the racial laws) published tasteless anti-Semitic contents."
Censorship in Italy - Wikipedia
Posted from en.m.wikipedia.org
World History
Military History
Freedom
Freedom of Speech
Media
Posted 6 y ago
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