MOTION picture industry -- United States, HISTORY, MOTION pictures, INTERWAR Period (1918-1939), TWENTIETH century, ITALY -- Foreign relations -- United States, and ITALY

The article discusses the history of relations between the American motion picture industry and Fascist Italy from 1922 to 1941. It considers president of the Motion Picture Producers and Distributors Association (MPPDA) Will Hays, focusing on his his professional dealings with the political party of Italian leader Benito Mussolini. Topics include profits for American film companies from foreign sales, government rules requiring the dubbing of films in Italian, foreign relations between the administration of Franklin D. Roosevelt and Italy, and U.S. Secretary of State Cordell Hull.

SOCIAL interaction, INFORMATION resources management, CORPORATIONS, INTERNATIONAL relations, and ITALY -- Foreign relations

Political and commercial relations between Italy and North Africa lead us to investigate main geographical, social and cultural interactions. The empirical analysis of Robbiki Leather City allows us to overcome the official sources of information diffusion. Consequently, this study provides an accurate picture of real difficulties and concrete opportunities for geographical delocalization of Italians firms in Africa. [ABSTRACT FROM AUTHOR]

COLONIES, MASSACRES -- Italy, DEPORTATION, VIOLENCE -- Social aspects, and ITALY -- Foreign relations

In the last two decades studies on Italian colonialism have shown remarkable vitality and many positive results. But in spite of this undoubted progress there still remain some limitations of approach that prevent any real outstripping of the interpretive schemes hitherto used. The research being conducted largely follows the nation state paradigm: the Italian colonies are viewed and studied as essentially independent entities, devoid of relations with the surrounding territories and, above all, between each of these and the others. This article offers an interpretive scheme that stresses the intimate relationship among the Italian colonial possessions in Africa, their status as a system, by moving away from a representation that has always favoured a rigorously individualised treatment of Italy's colonies. It emphasises three main levels of interconnection: administrative structures, officials and colonial troops. While the first two were also common to other colonial entities, the extreme recourse to the mobility of colonial troops was a distinctive feature of the Italian version and the main factor of interconnection among Italy's territories. Our analysis also enables us to better understand the place violence held in Italian colonialism. Along with analyzing the deportations, massacres and use of gas, we must consider the uninterrupted cycle of campaigns that from 1911 to 1941 Italy inflicted on its colonies. For the most part, wars were delegated to colonial troops who for thirty years, moving from one colony to another, made war and violence a fundamental aspect of the Italian colonial experience. [ABSTRACT FROM AUTHOR]

EUROCOMMUNISM, VIETNAM War, 1961-1975, ITALY -- Foreign relations -- United States, and UNITED States -- Politics & government

Italy was the first country in which the United States tested its 'political warfare', the integrated application of overt and covert strategies to stabilise internal politics. This article illustrates that while America's most intrusive and aggressive methods against Communist power in Italy often backfired, its diplomatic use of Italy's interplay of domestic politics and foreign policies was relatively successful. It was an indirect method that hinged on America's flexibility towards the moderate centre-left forces. American counterintuitive toleration and sometimes encouragement of mild political and cultural dissent in Italy helped refute and isolate the determined opposition of the strong Italian Communist Party. [ABSTRACT FROM AUTHOR]

HEGEMONY, MARRIAGE, RENAISSANCE -- Italy, CORE & periphery (Economic theory), and ITALY -- Foreign relations

In the summer of 1539, an elaborate, ephemeral programme of decoration was constructed in Florence to celebrate the wedding of Cosimo I de' Medici and Eleonora Álvarez de Toledo. Through an interplay of painting, sculpture, heraldry, and classical allusions, the programme constructed a narrative of the marriage as the culmination of a history of mutual support between the Medici family and the Spanish monarchy. In so doing, this article argues, it revealed the dynamic by which the network of political alliances and exchanges that made Spanish hegemony on the Italian peninsula possible operated. The narrative re‐presented the distant and recent history of Medici–Spanish relations and re‐created Florence as a middle ground between Spanish imperialism and Italian resistance and autonomy. It revealed the way in which Spanish Habsburg hegemony in Italy relied on dialogue, accommodation, mutual reciprocity, and a creative interpretation of the past and present. [ABSTRACT FROM AUTHOR]