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Some Italian theorists of the time were incredibly suspicious of the technology and theories surrounding film at the time; in this regard, they were technophobic, meaning they feared the technology and the effect it would have on Italian society ^[1]. The attitude of Italian theorists is somewhat surprising due to the history of futurists, who from the 1910s on, celebrated technology in art; it also heavily contrasts with the rest of Europe's approach to film which was focused on the newness of the technology.

A "diva" is the most important woman, usually a famous female opera singer. Still, during the silent era of film, multiple diva films were made in Italy, "diva" meaning in this case a woman-led film of at least 60 minutes.^[2] These woman-led films generally focused on sex, gender, and femininity. The point-of-view shot was introduced in Italian film around 1920 by being used in these diva films. The diva film was a genre in itself, separate from the melodrama due to its tendency to call out the corruption of young males. The diva film is often conflated with the femme fatale of Northern European paintings. The prominence of the diva film declined after WW1 due to the rise of fascism in Italy. And due to the bankruptcy of the UCI, with the height of the diva film coming during WW1, with national interest shifting from the body of the soldier to the body of the diva.

Mussolini's dictatorship was an authoritarian form of government, opposed to Hitler and Stalin's more totalitarian government styles. Mussolini only intended to control people's outward opinions, not their private thoughts so much, which allowed filmmakers more creative freedom. The Italian government was never fully aligned with the film groups, while fascist propaganda films known as "black" films were made there was a spectrum of films being made with "white" films, which were lighthearted romances and comedies were also made, though a majority of films made during the fascists regimes reign fell somewhere in the middle of this spectrum, but they remained as fasicst films. In 1934, Luigi Freddi was the head of the Direzione Generale per la Cinema which censored movies that could incite the Italian public, though the purpose of this board wasn't to fully censor films that didn't agree with the fascist ideology but to rather change them in a way so that they dont contradict the government and inspire the people to rise against the government, though there were monetary reasons to have a pro-fascist message, with scripts written with this message having the ability to recieve up to a 100% funding from the state controlled portion of the Banco di Lavoro, the direzione could reccommend approved scripts to recieve a 60% advance of capital.^[3]

Luzzi, J. (2020). Italian cinema: From the silent screen to the Digital image. Bloomsbury Academic. ISBN 978-1441186423

Alovisio, S., Casetti, F., & Mazzei, L. (2017). Early film theories in Italy: 1896-1922. Amsterdam University. ISBN 978-9089648556