This article investigates the figure of Vittorino Veronese (1910-86), who has been almost entirely ignored in the panorama of studies on the relationship between Catholicism and the cinema in Italy. Nevertheless, thanks to the positions he held (he led the ACI from 1944 to 1952) and the objective weight of some of his choices, Veronese had a central role when the Catholic world’s attention and commitment toward cinema, on a pastoral level, reached its height. Veronese’s actions were little conspicuous, they were underground, more diplomatic than aggressive, played for the most part in opposition to the parallel, often blazing movements of figures like Luigi Gedda, father Félix Morlion, Giulio Andreotti, André Ruszkowski. The article draws from documents that have come to light in archive research, beginning with the rich Veronese collection at the Luigi Sturzo Institute. It re-reads the Catholic-cinema relationship from an original perspective: a pastoral paradigm that differs from the film politics promoted by high-level ecclesiastical circles.

L’intervento indaga la figura di Vittorino Veronese (1910-86), quasi completamente ignorata nel panorama degli studi sul rapporto tra cattolici e cinema in Italia. Eppure è una personalità che, per gli incarichi ricoperti (fu alla guida dell’ACI dal 1944 al 1952) e l’oggettivo peso di certe sue scelte, ha avuto un ruolo centrale quando l’impegno e l’attenzione del mondo cattolico verso il cinema, a livello pastorale e politico, raggiunsero la loro massima intensità. Quella di Veronese fu un’azione poco appariscente, sotterranea, più diplomatica che bellicosa, giocata in gran parte in controtempo rispetto ai paralleli movimenti, spesso sfolgoranti, di figure come Luigi Gedda, padre Félix Morlion, Giulio Andreotti, André Ruszkowski. La ricerca muove dai documenti venuti in luce negli archivi, a partire dal suo ricco fondo depositato all’Istituto Luigi Sturzo, rileggendo la relazione cattolici-cinema da una prospettiva inedita, quella di un paradigma pastorale alternativo alla politica cinematografica promossa dalle alte sfere ecclesiastiche.

Vittorino Veronese e il cinema. Un paradigma pastorale alternativo nell’età della mobilitazione geddiana

Della Maggiore, Gianluca
2018

Abstract

This article investigates the figure of Vittorino Veronese (1910-86), who has been almost entirely ignored in the panorama of studies on the relationship between Catholicism and the cinema in Italy. Nevertheless, thanks to the positions he held (he led the ACI from 1944 to 1952) and the objective weight of some of his choices, Veronese had a central role when the Catholic world’s attention and commitment toward cinema, on a pastoral level, reached its height. Veronese’s actions were little conspicuous, they were underground, more diplomatic than aggressive, played for the most part in opposition to the parallel, often blazing movements of figures like Luigi Gedda, father Félix Morlion, Giulio Andreotti, André Ruszkowski. The article draws from documents that have come to light in archive research, beginning with the rich Veronese collection at the Luigi Sturzo Institute. It re-reads the Catholic-cinema relationship from an original perspective: a pastoral paradigm that differs from the film politics promoted by high-level ecclesiastical circles.
2018
Settore M-STO/04 - Storia Contemporanea
Vittorino Veronese; Catholicism; Italian Catholic Action
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11384/79947
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