In this essay, I argue that despite the Vatican’s condemnation of Nazi racism as an anti-Christian ideology, some Catholic sectors in Fascist Italy were not impervious to anti-semitic and racial prejudices. Looking at the discussion on race and anti-semitism in the propaganda of clerical Fascism and its simultaneous echo in Church discourses, this research delves deeper into the formation of a specific Catholic trend of racial anti-semitism that excluded Jews from a religiously and ethnically homogeneous definition of the Italian nation. A significant part of the propagandists of clerical Fascism attempted to define a racial and anti-semitic narrative that could be suitable for both Fascist racism and Italian Catholic culture. I examine the Catholic appropriation of racial anti-semitism on a broad spectrum of positions, ranging from Catholics who only flirted with racialist rhetoric to those who dismissed the transformative value of conversion because of alleged racial barriers. Challenging the traditional distinction between Christian anti-Judaism and modern anti-semitism, the examples under examination demonstrate the entanglement of religious and racial arguments in the shaping of a ‘Jewish race’ that was considered foreign to the italianità celebrated by the regime.

This paper examines intersections and divergences between Catholic universalism and Fascist ethno-nationalism in the pages of La Tradotta del Fronte Giulio, a satirical weekly newspaper for Italian military personnel in occupied Yugoslavia during the Second World War. Military propagandists appealed to grassroots Catholicism to motivate demoralised Italian soldiers in the last year of war against the communist-led Yugoslav partisan movement. Their use of Catholic themes revealed overlapping values but also apparent incongruities between Christianity, Fascism, and Italian military culture that had been evident throughout the ventennio. While Catholic anti-communism blended relatively seamlessly with nationalist-Fascist anti-Slavism to depict the partisan enemy as a dehumanised Other, the use of conventional piety and Christian humanitarianism in the army’s propaganda contradicted Fascist and military concepts of the ideal Italian ‘new man’. In the process, military propagandists sowed the seeds for the brava gente myth that dominated postwar memory and national identity in Italy.

After Mussolini’s regime collapsed, Italy rebuilt itself as a nation and a democracy. The Republican Constitution approved in 1948 rejected the ideologies of both racism and racial discrimination, which had been strengthened and made harsher by Fascism since the mid-1930s. Yet, despite this, racism and racialisation continued in the post-Fascist years. The article analyses how the presence of former colonial subjects in Italy between the 1940s and 1960s was perceived, represented and managed, and demonstrates that the hegemonic discourse of the post-war period still considered Italy to be a white and ethnically homogeneous nation. It considers the stories of people from Libya and Eritrea who applied for Italian citizenship and the life in Italy of some Somali students in the 1960s. From different perspectives, these case studies show how in republican Italy inclusion and exclusion, as well as concepts of identity and otherness, were the consequence of processes of racialisation and ideas inherited from the previous period.

This article contributes to the expanding body of scholarship investigating the problematic correlations between racism, the legacy of colonialism, and configurations of national and cultural identity in post-war Italy. It does so through a yet unexplored perspective: that of the attitude of Italian publishing towards literature from former colonies. More specifically, it examines the reception of anglophone Caribbean novels written by ‘Windrush writers’ in the 1950s and 1960s. The article provides evidence of how Italian agents and publishers – belonging to the country’s intellectual elite, and many of whom publicly espoused anticolonial positions – not only proved to be more interested in the exotic, picturesque contents of Caribbean literature than in its historical, ideological, and political significance, but sometimes actively opposed the circulation of texts containing anticolonial or pro-Black identity claims. Some of their comments demonstrate the persistence of racist and derogatory assumptions of an imagined black and colonial Other, and a negation of their identity as both political subjects and cultural producers, if they failed to conform to dominant expectations. The expectations and the evaluation criteria active in the reception of Caribbean novels allow for an assessment of the ambiguous attitude of Italian publishing agents towards colonialism, race, and alterity.

This article investigates the role, reception, and socio-cultural, political relevance of mondo movies in the context of late 1950s–early 1980s film and documentary. The mondo genre debuted with reportage films about sexuality in Europe and reached its pinnacle with Gualtiero Jacopetti’s assemblage films. The historical context in which this genre evolved, and white masculinity was rearticulated and positioned at the centre of the national imagined community, is mapped focusing both on gender and race constructions and on the gaze identifying, encoding and decoding the sensationalist presentation of postcolonial/ decolonising Otherness. A brief review of some of the author’s published work on 1962–1971 mondo movies introduces Cannibal Holocaust (1979) and director Ruggero Deodato’s controversial reflection on the white, capitalist, sexist, Western and neo-colonial anthropological gaze.

This essay explores attitudes towards home-grown anti-black racism in Italy from the 1960s to the early1980s by focusing on the reception of Giovanni Vento’s Il Nero, a 1965 film that depicts the everyday lives of two biracial Italians born at the end of the Second World War from encounters between Italian women and non-white Allied soldiers, and of Antonio Campobasso’s Nero di Puglia, a partly autobiographical book by one of these biracial Italians, published in 1980. Campobasso’s powerful text, which denounced the hypocrisies of the Republic, received some acknowledgement in the intellectual community, but the lenses that the cultural critics used to interpret the text impeded a foregrounding of the racism that the book denounced. Giovanni Vento’s innovative film, on the other hand, did not even reach the commercial circuit and was also interpreted in leftist circles through a political and aesthetic paradigm that downplayed the specificity of anti-black racism. The article invites a reflection on the legacy that these attitudes have had in shaping the limited sensitivity to racism in contemporary Italy.

This article traces the evolution of anti-semitism in post-war Italy, from the early responses to the Holocaust to the increasingly concerning signs of contemporary anti-Jewish prejudice. Tracing the discourses of religious and secular attitudes towards Jews, the piece shows how resilient certain stereotypes are, and how assumptions about citizenship continue to undermine the respect of difference in Italy. With a reflection that is meant to be personal and scholarly at the same time, this contribution has the aim of facilitating a broader reflection, that spans instances of anti-semitism among the anti-racist Left, the correlation between unresolved anti-Jewish prejudice and widespread racist, anti-immigrant discourses, the challenges of a politicised memorialisation of the Holocaust, and also the role Jewish communities may play in this unsettling context.