From the end of 1955 to the middle of 1959, the quiz programme Lascia o raddoppia? transformed the way that Italians watched television, attracting a mass audience and appealing to viewers of different class backgrounds and levels of education. The quiz, watched by 15 million Italians at its peak, was more than Italy’s first successful television show: Lascia o raddoppia? also reflected the social and cultural transformations of Italy’s economic ‘miracle’, and confirmed the growing importance of mass culture and education in modern Italy. Yet, the role and response of the viewer in this television phenomenon has been largely overlooked. Viewers, if discussed at all, are often represented as an ‘Everyman’, mediocre, or the victims of Americanisation. This article examines the audience responses to the quiz by connecting the Radiotelevisione Italiana (RAI) broadcaster’s audience enjoyment ratings to the programme transcripts, specific contestants and media coverage. The audience data, when linked to individual programmes and contestants, reflects important changes in society and education and challenges the myth of the passive viewer, demonstrating even that 1950s television audiences were not as malleable or as conservative as contemporary commentators and many histories suggest.

In 2011, Edoardo Nesi – a former industrialist in the Prato textile district – won the most prestigious Italian literary prize for his autobiographical novel Storia della mia gente, a book centered on the contrast between Prato’s past industrial success and present decline. Nesi has since become a regular contributor to Corriere della Sera, among other newspapers, and with his following book, Le nostre vite senza ieri, he has further emphasised his role as a public intellectual. In Nesi’s view, Italy’s participation in the global economy has exposed Italian manufacturers to a level of competition that they were not ready to meet. This disadvantage, Nesi contends, was exacerbated by the adoption of the euro, which put an end to the former practice of using monetary policy to offset trade deficits. As a result, many firms lost market shares, and the Prato textile district ended up being largely taken over by Chinese businesses. This paper criticises Nesi’s account of the Italian industrial decline. In particular, it argues that his sympathetic view of the former political-industrial system is mostly an expression of self-complacency and does not positively contribute to the current debates on the Italian economic crisis.

In this paper, I examine the unpublished First World War diaries of Giovanni Pirelli – heir to the helm of the Pirelli tyre company – for their account of how the war and fall of Fascism may have catalysed his dissociation from his family, his class, and his ideological foundation. In the post-war period, Pirelli traced the source of his rejection of his inheritance to his experiences during the Russian retreat, but in the moment, the expression of this kind of transformation is fragmentary and complex. Scholars often look to war diaries and letters for their testimony to the state of the individual in combat. Through close reading, I trace how Pirelli’s writings negotiate his immense privilege and his attempt to construct a moral identity in the midst of war. I consider how they demonstrate his break with his wartime ideals and Fascism and how they anticipate his later transition from industrial heir to socialist activist. My examination of these diaries reveals the ambiguities inherent in this transformation of Fascist and bourgeois subjectivity.

The ‘école barisienne’ refers to a group of intellectuals, active between the end of the 1960s and the beginning of the 1980s, who brought their academic and political activity together in order to bring the cultural heritage of Italian communism up to date and to construct a new theory of the revolution. Interpreting the student movement of 1968 as the historical agent of a social and political revolution, their intention was to transform the Italian Communist Party (PCI) into a ‘partito-società’ (‘party-society’) that could take hold of the new generation’s demand for democracy and overturn the hegemony of Christian Democracy, understood as the ‘partito-Stato’ (‘party-state’). This article retraces the life of this intellectual grouping, from the education of its proponents, marked by the Southern Question as a national question, through to the demise of their project. Specifically, it examines the relationship between the research activity of the école, highlighting some significant analytical categorisation used in its historiographical output, its political activity, and the national position of the PCI.

This article examines the most important documentary film about the Italian ‘victory’ in Ethiopia, Il cammino degli eroi, by Corrado D’Errico (1936), the primary aim being to shed light on its complex iconographic system of representation. The first part examines the representation of the ‘African Mussolini’. In the second part, the article analyses the ‘conqueror’s gaze’ in the visual perspective employed by D’Errico in his account of the new Italian colony. The third part is devoted to arguing the juxtaposition between ‘Italian Creation and Ethiopian apocalypse’. Finally, the last part of the article deals with the reasons for the Ethiopian war.