![]() ![]() Visconti’s Austrian in Senso (1954) and his ‘Austrianization’ of the German in Morte a Venezia (Death in Venice) (1971) have added a ‘topos Austria’ to Italian film, which is deconstructed by Fellini’s abstraction of the ‘Habsburg mythos’ at the onset of the First World War in E la nave va (And the Ship Sails On) (1984). Austria is thus a viable stand-in for Italian cinema’s examination of its own historical trauma. ![]() Giacomo Lichtner’s view that Italian film ‘absolved’ its society for the myth of the brava gente (the good or ‘better’ people) parallels Austria’s avoidance of dealing with its Nazi past until sparked by national discourse. ![]() Rossellini’s seminal image of the Austrian deserter in Roma città aperta (Rome, Open City) (1945) has continued to shape Austrian characters and their difference from the German in Italian auteur film. ![]()
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