The Radio in Fascist Italy

• Philip Cannistraro
• Journal of European Studies
• scholars have generally agreed that the control of the mass media by the state is a fundamental prerequisite for the establishment and maintenance of totalitarian dictatorships (pg 127)
• It is not so widely acknowledged, however, that contemporary totalitarian governments have been largely responsible for the initial growth of the mass media-particularly films and the radio-in their respective countries. (pg 127)
• In their efforts to expose entire populations to official propaganda, totalitarian regimes encouraged and sponsored the development of the mass media and made them available to every· citizen on a large scale basis. (pg 127)
• Marconi shrewdly reminded Mussolini that it would be politically wise to place control of the radio in the hands of the state, pointing out the radio’s great potential for propaganda purposes (pg 128)
• “How many hearts recently beat with emotion when hearing the very voice of the Duce! All this means but one thing: the radio must be extended and extended rapidly. It will contribute much to the general culture of the people” (pg 129)
• … to insure that EIAR’s programmes conformed to the requirements of the regime’s cultural and political policies. The High Commission included government representatives from each major area of culture: literature, journalism., the fine arts, music, poetry, theatre, and films. The programmes Commission screened the transcripts and plans of all and censored the content of all broadcasts. (pg 130)
• His broadcast, ‘The Bombardment of Adrianople’, was awaited by the public with great interest and was heralded by critics as the most significant cultural event of the Italian radio.ts Marinetti’s colourful language and emotion-packed presentation blasted un expected life into the Italian radio. His flam.boyant style introduced the concept of the ‘radio personality’ in Fascist Italy, and the success of his talk encouraged those who, like Marinetti himself, hoped to make the radio a new art form. Broadcasts by Marinetti, most of which were lectures on Futurism, continued to be heard on Italian radio each month for more than a decade. (pg 131)
• The regime quickly recognized the effectiveness of this technique in· arousing listener interest, and it was an easy matter to transfer microphones to mass rallies from where the enthusiastic cheers of the spectators could be heard by radio audiences. (pg 132)
• The popular announcer Cesare Ferri created the characters ‘Nonno Radio’ (Grandfather Radio) and ‘Zia Radio’ (Aunt Radio), speaking to Italian youth with unprecedented familiarity in terms they easily understood. (pg 132)
• In order to popular arouse interest in its program.me EIAR sought to stimulate indirect audience participation through public contests for short stories, poems, songs, In and children’s fairy tales. addition, surveys were conducted among listeners to discover trends in popular taste. (pg 133)
• The radio had an important task to fulfil in the totalitarian state, that of binding the Italians together into one nation through common ideals and a common cultural experience inspired by Fascism. (pg 134)
• Mussolini proclaimed Radio Rurale a great achievement of the Fascist revolution, for contemporary observers saw it as a new instrument with which to integrate rural existence into the mainstream. of national life. (pg 135)
• The measures taken by the regime to overcome cultural and political provincialism by creating a mass radio audience in the countryside met with qualified success. (pg 137)
• Regarded by many as an important step towards the creation of a truly popular culture, Radio Btdilla’s purpose was to give the working classes of the city and the countryside the means of acquiring a radio at a modest cost. Through the radio art, instruction, music, poetry-all the cultural masterworks–cease to become the privilege and unjust monopoly of a few elitist groups’. (pg 139)
• ‘The ministry, in carrying out its delicate functions of vigilance over radio broadcasting, must guide itself by criteria that are essentially of a political and cultural nature.’ (pg 140)
• Once the radio had been integrated into the structure of the Ministry of Popular Culture, the Fascists began to develop m.ore effective ways of using broadcasting as a cultural medium. While the number and variety of programmes had begun to increase by the beginning of the decade, it was only after 1934 that they became politically sophisticated. (pg 141)
• Fascist racial doctrines became a major theme of radio propaganda during World War II. An Italo-German accord signed in 1940 to co-ordinate radio propaganda between the two countries included measures to ‘intensify anti-Jewish propaganda’ on the Italian radio as well as in foreign broadcasts.78 The Inspectorate for Radio Broadcasting organized an important series of anti-Semitic prograrnm.es that centred around the ‘Protocols of Zion’, and talks such as ‘Judaism. versus Western Culture’, the ‘Jewish International’, and ‘Judaism. Wanted this War’, were broadcast from 1941 to 1943. (pg 143)
• information received from the Vatican radio during World War II was generally regarded more accurate than the obvious propaganda broadcasts of the Allies (pg 147)
• On the radio he astutely employed direct, forceful language, shouting short and vivid sentences to create a sense of drama and arouse emotional reactions. ‘This ‘maniera forte’ that characterized Appelius’ radio talks had a great appeal for many Italians, especially for the ‘little man’ who wanted to be talked to on his own level in terms he could readily understand.121 In his broadcasts Appelius screamed insults and ranted and raved at the foul enemies of Fascism. with a powerful barrage of verbal abuse, inciting his audiences to unmitigated hatred and scorn against the evil ‘anglo-sassoni’ and their allies. (pg 150)
• In the broad context of Fascist cultural aspirations, all the media aimed at similar goals: the diffusion of standard images and themes that reflected the ideological values of Fascism.; the creation of a mass culture that conformed the needs of the Fascist state in its capacity as a totalitarian to government. (pg 154)