STEVEN STERGAR Colleges, Film Clubs, and Cultural Venues. A Jesuit Film Network in North-Eastern Italy in the 1950s and 1960s

novitàdigital STEVEN STERGAR
Colleges, Film Clubs, and Cultural Venues. A Jesuit Film Network
in North-Eastern Italy in the 1950s and 1960s

Articolo

Rivista

COMUNICAZIONI SOCIALI

Fascicolo

COMUNICAZIONI SOCIALI - 2022 - 3. Cantautore: the Songwriter in Culture and the Media

Titolo

STEVEN STERGAR Colleges, Film Clubs, and Cultural Venues. A Jesuit Film Network in North-Eastern Italy in the 1950s and 1960s

Autore

Steven Stergar

Editore

Vita e Pensiero

Formato

Articolo |

Pdf

Online da

03-2023

Doi

10.26350/001200_000164

Issn

0392-8667 (stampa) | 1827-7969 (digitale)

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Descrizione Commenti dei lettori

Through several attempts to moralize cinema over the first half of the Twentieth century, Catholics have gradually gained enough power to develop film policies and strategies (Biltereyst - Treveri Gennari, 2015) to produce and disseminate healthy and public knowledge regarding the cinematic medium. Direct consequences of these guidelines seem to concern foremost the education of those audiences who used to attend parishes, venues, and other Catholic centers involved with film screenings and cultural symposia. The educational role played by Italian Jesuits helps us understand the proliferation of these discourses to a greater extent. Depth analysis on the relationship between the Society and cinema is still an under-researched topic that could underlie some political aspects of Catholic culture in Italy, shedding more light on the impact Jesuits had in the production and dissemination of national and local film knowledge. After the 1950s, their cultural efforts focused on North-Eastern Italy offer a crucial example of how the Society of Jesus dealt with these goals. From the frequent film courses held by Father Antonio Covi SJ at the Antonianum college, in Padua, to those intended for schools in Conegliano, as well as the cineforum organized in Gorizia and the various public statements in the city of Trieste, these initiatives were interconnected and designed in response to the Church needs for producing film culture in each of the above areas. Therefore, what emerges is a transparent portion of a more comprehensive Jesuit Network (Della Maggiore - Subini, 2018) through which the production of film discourses contributed, likely, to delineating a film culture shared with novices, scholars, and citizens. The analysis here proposed questioning the Jesuits’ placement within the organized plurality of discourses in the formation of reasoned knowledge about the educational effectiveness of cinema. Following these suggestions, the paper deals with the northeastern Jesuits’ initiatives and their role as a vehicle of knowledge among the mentioned geographical lands.