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Fascism and Tourism in Venice: Cultural Events Staged by Fascist Organs

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Fascism and Tourism in Venice: Cultural Events Staged by Fascist Organs ‘Culture, tourism and Fascism in Venice 1919-1945’ University College London Submitted in fulfilment of requirements for the degree of Doctor of Philosophy 2004 Stefania Longo /I hbl. \ ( LONDW . UMI Number: U592424 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U592424 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Abstract The thesis engages with recent debates surrounding the relationship between culture, ideology and politics in Venice under Italian Fascism. It aims to establish if the Fascist project for the ‘nationalization of the masses’ through culture was successfully promoted in Venice, or whether local economic interests were afforded a higher priority by the town authorities. It argues that local elites were not primarily concerned with the endorsement of Fascist ideology through cultural politics but considered exhibitions, plays, concerts and festivals to be the route to boosting economic growth through the development of the tourist industry. The thesis examines the ways in which the Venetian municipality was able to work with the Fascist regime, co-operating with national political directives provided these did not contradict the primary objective of restructuring and reviving the Venetian economy. Cultural policies in Venice were thus less a vehicle for Fascist ideology than a pragmatic means of injecting new life into the flagging post-war economy through the development of new forms of ‘cultural tourism’. Festivals, exhibitions and traditional events were placed at the service not of the Fascist programme of mass cultural mobilisation, but of local business and political elites whose interests ultimately depended upon the revitalization of commercial tourism and the economic and social rejuvenation of the Veneto region. The familiar image of a ‘totalitarian’ state penetrating deep into all aspects of society is in need of serious qualification and a more realistic interpretation of Fascism in Venice must take account of the complex and sometimes ambiguous relationship between the national interest, as constructed by ideologically-driven Fascist organs and agencies, and the requirements of institutions and elites at the local level. 2 Contents Acknowledgements .... 5 Abbreviations . 6 List of names .... 7 Chapter 1: Introduction .... 9 The importance of cultural tourism in Venice 20 Chapter 2: Culture in Venice : commercial business or vehicle for Fascist ideology? . 27 Cultural events at the heart of the Venetian tourist calendar . 28 A vital activity: long-term planning and the tourist season 35 The Venetian Tourist Office under Fascism . 39 Culture tatfed in favour of tourism . 44 Fascism and tourism in Venice: cultural events staged by Fascist organs . 48 The experiment o f‘popular trains’ 57 Boosting tourism: modem tourist techniques adopted in Venice . 63 Cultural tourism in the war years . 67 The ambiguous relationship between the Venetian administration and the state. 71 Chapter 3: Giuseppe Volpi and the development of cultural tourism .... 74 Giuseppe Volpi and the cultural industrialization of Venice .... 75 The vision of a new industrial Venice . 82 Volpi and Fascism ..... 88 The case of the Biennale Music and Theatre festivals as cultural businesses . 94 The Biennale festivals and cultural competition 108 Conclusions . 112 Chapter 4: The Venice Biennale of International Arts in the 1930s ..... 115 Part One: The structures . 118 The Biennale as a commercial institution cloaked in culture: from Liberalism to Fascism . 118 Searching for approval from Fascism. 126 The neutrality of the Music Festival’s repertoires . 130 Resting upon the tourist industry: the Biennale and mass tourism . 132 3 Part Two: The enterprise . 140 The Biennale within the international art market 140 Competitions with Fascist themes . 148 ‘Aesthetic pluralism’ as a marketing strategy. 153 Ideas for reforms at the Biennale . 158 The Biennale as mediator between art production and art consumption 164 Part Three: The decorative arts . 170 The state of Venetian handicrafts in the 1920s 170 The Settecento Exhibition . 173 Initiatives in favour of art and industry . 178 The Biennale pavilion of decorative arts 183 Conclusions . 188 Chapter 5: Serving tourist purposes: the Lido beach resort and the Biennale Film Festival . 190 The birth of the Lido as modem holidaying resort: from tourism of the poor to elite tourism . 191 Building an elite resort: the Venice Cinema Festival and the tourist industry . 196 The Fascist intervention . 209 The construction of the Cinema Palace 217 Moral ambiguity and the institution of the Municipal Casino .... 222 The Lido between Fascist ideology and cosmopolitanism . 233 Conclusions .... 239 Chapter 6: Conclusions .... 241 Bibliography .... 249 4 Acknowledgements I owe much credit to my two supervisors Dr. Jonathan Morris and Dr. Axel Komer (University College London) who were both extremely encouraging from the start and had the patience to read my not so perfect English. Above all, they have supported me through the inevitable setbacks and responded with good grace and speed to my frequent reference demands. I am grateful to the University of London for having assisted my trips to Italy for several years. This thesis would not have been finished without the precious aid of Dr. James Vaughan (University of Wales, Aberystwyth) who has copy-edited all my work and has tolerated all my mood swings throughout my PhD. I also thank Simon Martin for having helped me spotting major language mistakes in some of the chapters. Above all,* I have to thank my family who unceasingly encouraged and supported me through the good times and the bad. I could not have done this without them. 5 Abbreviations ACS: Archivio Centrale di Stato AMV: Archivio Municipale di Venezia AS AC: Archivio Storico delle Arti Contemporanee di Venezia ASV: Archivio di Stato di Venezia CIGA, Ciga: Compagnia Italiana dei Grandi Alberghi LUCE: L’Unione Cinematografica Educativa Minculpop: Ministero della Cultura Popolare OND: Opera Nazionale Dopolavoro PNF: Partito Nazionale Fascista SADE: Societa Adriatica di Elettricita ICE: Istituto Intemazionale per la Cinematografia Educativa SIAE: Societa Italiana Autori ed Editori UNAT: Unione Nazionale dell’Arte Teatrale SAVIAT: Societa Anonima Veneziana Industrie Artistiche eTuristiche List of names Alvera Mario: Podesta of Venice, 1930-38 Barbantini Nino: art expert, member of the Biennale Administrative Committee at the end of the 1920s Bazzoni Romolo: Administrative Director at the Venice Biennale Beer Guido: Prefect of Venice, 1933-34 Bettori Giovanni: Commissary of the National Fascist Associationof the Industries of Spectacle Bianchetti Giovan Battista: Prefect of Venice, 1929-33 Bolla Teodoro: President of the Provincial Federation of Commerce in 1932 Busetto Giovanni: Venetian entrepreneur who fostered the birth of the tourist industry at the Lido Calzavara Pietro: President of the Lido Marine Hospital in the 1920s Campione Alfredo: Ciga manager in the 1930s Casattini Guido: President of the Consorzio Alberghi e Pensioni Venezia e Lido in 1932 Casellati Vilfrido: President of the Province of Venice, 1939-43 Catalano Carlo: Prefect of Venice, 1936-39 Ciardi Ettore: Venetian painter included in the Biennale administrative committee in 1930 Cini Vittorio: entrepreneur, part of the 4 Venetian group’ with Volpi and Gaggia De Feo Luciano: Founder of the Istituto Luce in 1924 and Director of the ICE in the 1930s De Pirro Nicola: Director of the Ispettorato del Teatro of the Minister of National Education De Stefani Alberto: member of the Venetian PNF and Minister of Finances Fomaciari Bruno: Extraordinary Commissary of Venice, 1924-1926 Foscari Piero: town councillor, 1899-1919 Freddi Luigi: Head of the Direzione Generale per la Cinematografia in the 1930s Gaggia Achille: entrepreneur, part of the 'Venetian group’ with Volpi and Cini Gian Ferrari Ettore: Head of the Biennale Sales Office in 1941 Giordano Davide: Mayor of Venice, 1920-24 Giuriati Giovanni: Head of the Venetian PNF Grimani Filippo: Mayor of Venice, 1895-1919 Maraini Antonio: Secretary General of the Venice Biennale of International Arts from 1928 Marsich Piero: leader of the Venetian 'urban’ Fascism in the early 1920s Molmenti Pompeo: Venetian deputy and senator, he was against the Porto Marghera project Nebbia Ugo: writer in the Rivista di Venezia in the 1930s Orsi Pietro: Podesta of Venice, 1926-29 Petit Luciano: deviser of the Porto Marghera project Piacentini Marcello: architect included in the Biennale administrative committee in 1930 Pica Vittorio: Secretary General of the Biennale until 1928 7 Reinhardt Max: director at the Biennale Theatre Festival in the 1930s Revedin Antonio: Ciga Manager Salvini Guido: director at the Biennale Theatre Festival in the 1930s Simoni Renato: director at the Biennale Theatre Festival in the 1930s Sorger Ettore: Venetian entrepreneur who fostered the birth of the tourist industry at the Lido Spada Nicolo: Venetian entrepreneur who fostered
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