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Perfetti, Guglielmo (2018) Absolute Beginners of the “Belpaese.” Italian Youth Culture and the Communist Party in the Years of the Economic Boom

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Perfetti, Guglielmo (2018) Absolute Beginners of the “Belpaese.” Italian Youth Culture and the Communist Party in the Years of the Economic Boom Perfetti, Guglielmo (2018) Absolute beginners of the “Belpaese.” Italian youth culture and the Communist Party in the years of the economic boom. PhD thesis. https://theses.gla.ac.uk/9132/ Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten: Theses https://theses.gla.ac.uk/ [email protected] Absolute Beginners of the “Belpaese.” Italian Youth Culture and the Communist Party in the Years of the Economic Boom Guglielmo Perfetti Submitted in fulfilment of the requirements for the Degree of Doctor of Philosophy School of Modern Languages and Cultures College of Arts University of Glasgow March 2017 1 Abstract This study has the aim of exploring aspects of youth culture in Italy during the economic boom of the late 1950s and early 1960s. Its theoretical framework lies between the studies around Italian youth culture and those around the Italian Communist Party (PCI), investigating the relationship between young people and contemporary society and examining, for the first time, the relationship of the former with the PCI, its institutions and media organs.1 The arrival of an Anglo-American influenced pop culture (culture transmitted by the media and targeted at young people) and of its market, shaped the individualities of part of the pre-baby boomers that, finally, were able to create bespoke identities somewhat disconnected from the traditional party-related narrative while remaining on the left of the political spectrum. Pop symbols that blossomed in the late 1950s, such as the striped t-shirt, would characterise the style of young protesters who included them in their collective imagination from the early 1960s onwards. Simultaneously, a flourishing pop market gave space to other cultural experiences including Cantacronache, a group of young musicians based in Turin who vividly depicted Italy of the boom through their lyrics. Their efforts can be read as belonging to a pop market that finally starts to open up towards new musical stimuli. They aimed to make their music available beyond the circle of left-wing activism as well and they were produced by a label linked to the PCI that in those years was reshaping its approach towards society, getting rid of its radical fringes and opening to a dialogue with diverse strata of the public, including young people, women and non-members. The thesis investigates how the Communists and its Youth Federation (FGCI), reacted to the development of youth culture as an aspect of modernisation in general. Through an examination of the party’s approach to the youth revolts of the early 1960s and of its formal documents targeted at young people in general, we analyse how – and how successfully – the Communists tried to engage with young people while often, internal strands, the monolithic nature of the party and other elements, posed severe obstacles in meeting their demands, creating a fracture that would grow in the following years. The thesis also investigates how the party’s attempt to address young people was translated into the promotion of magazines in which serious political topics were discussed alongside other themes such as investigations into society and into the “questione giovanile.” In this respect, we will see how the FGCI journal Nuova generazione tried, in the late 1950s, to 1 For more about this topic see the Introduction. 2 take account of youth inclinations paying attention to other important topics such as the emancipation of young women. The generation we look at is the first to claim the right to build its individual identities by drawing on pop culture and modernisation, developing codes and behaviours that pulled away from those set by the institutions. 3 Table of contents Abstract 2 Table of contents 4 Author’s Declaration 6 Abbreviations 7 Introduction 8 1. The Years of Change 17 1.1 Italy and the Political Scenario in the 1950s and early 1960s 17 1.2 Socio-economic Change and the DC 21 1.3 Il partito nuovo 24 2. The PCI in the 1950s 31 2.1 A Party in Transition 31 2.2 Another Trend, Same Party: Azione comunista 38 2.3 1955-1960: Messages and Guidance from the PCI to the Youth 44 3. Young People Come to the Fore: The Role of Pop Culture in Young 57 People’s Identities 3.1 Fascist-era Youth Culture 57 3.2 Youth Between “lo scudo crociato” and “la falce e il martello” 62 3.3 “Teppismo,” Teddy Boys and the Bars’ Neon Lights 67 3.4 Explosion of Rock and Roll and its First Italian Festival 74 4. Cantacronache. The Other Side of the Pop-Market 79 4.1 Cantacronache: Pioneers of “cantautorato” 79 4.2 The Italian Music Market and Cantacronache 84 4.3 Between Peace, Antimilitarism and the Resistance 92 4.4 Love and Everyday Life 98 4.5 Stereotypes and Sketches of Italian Society 108 4.6 References to Pop Music and Political Discourses in Cantacronache 115 5. The FGCI in Transition Between the Late 1950s and Early 1960s 127 5.1 What is the FGCI? 127 5.2 The Guidelines inside the Federation and a Reflection on the 135 “condizione giovanile” 4 5.3 The FGCI in Turin in 1962 140 6. Nuova generazione in the Late 1950s 151 6.1 Turmoil in Hungary and Discussions around the VIII Congress of the 153 PCI 6.2 Women and Youth 160 6.3 Youth and Women in 1957 166 6.4 Investigating Young Women 174 6.5 Youth in 1957: Youngsters and Americanisation 181 7. From Pop to Protest: 1960 and 1962 191 7.1 Genoa: June and July 1960. Rebels with a Cause 191 7.2 Turin, Fiat, tensions and Piazza Statuto. July 1962 199 Conclusion 207 Bibliography 212 5 Author’s Declaration I declare that, except where explicit reference is made to the contribution of others, this dissertation is the result of my own work and has not been submitted for any other degree at the University of Glasgow or any other institution. Guglielmo Perfetti 6 List of Abbreviations AC Associazione Cattolica ACLI Associazione Cristiana Lavoratori Italiani CGIL Confederazione Generale Italiana del Lavoro CISL Confederazione Italiana Sindacati Lavoratori CLN Comitato di Liberazione Nazionale CONI Comitato Olimpico Nazionale Italiano CPSU Communist Party of the Soviet Union DC Democrazia Cristiana FGCI Federazione Giovanile Comunista Italiana Fiat Fabbrica Italiana Automobili Torino FIOM Federazione Impiegati Operai Metallurgici Istat Istituto Nazionale di Statistica MSI Movimento Sociale Italiano PCI Partito Comunista Italiano PSI Partito Socialista Italiano RAI Radiotelevisione Italiana UIL Unione Italiana del Lavoro USSR Union of Soviet Socialist Republics Journals NG Nuova generazione VN Vie nuove 7 Introduction Youth has power, a kind of divine power straight from mother nature1 Late 1950s Italy witnessed a radical change in its social texture which went along with the spread of the economic boom that started around the mid-1950s. The period saw an enhancement in living conditions and, with the development of economy from rurality to industrialisation, an increased access to the emerging market of new goods, which were now finally more affordable. This process, along with others, led to a profound transformation of habits and identities.2 Among the social strata affected by this revolution, we can find a brand new one: that of youth. What Paul Morley writes about Britain applies to Italy too: the late 1950s were the time ‘when the idea of youth was rapidly developing as a separate class, a distinct cultural entity.’3 Across Western countries, those years saw the establishment of the teenager as a new social actor with its own niche in the market. Youth started to become a powerful force that was able to influence society, orientating it towards new pathways. In the United Kingdom and United States, this process had begun at the end of the Nineteenth Century when, with the advent of industrialisation, young people started to earn a wage. Although a limited amount, this money was usually spent on leisure such as music halls, variety theatres, pantomimes and so on.4 This created a new stratum based on age, shared tastes, common habits and, to a certain degree, class (music hall regulars came mainly from a working class milieu and were suspect in the eyes of part of the bourgeoisie).5 As we will see, in Italy the situation was different and we have to wait until the 1950s to observe the appearance of a generation that began to develop peer-to-peer relationships based on shared tastes and on a collective imagination. Here lies the focal point of this research. We aim to investigate how Americanisation and an Anglo-American influenced pop culture impacted the dynamics of young Italians’ relationships and those between youth and institutions such as political parties, the Italian Communist Party in particular (PCI) and its Youth Federation (FGCI). We will see how symbols borrowed from pop culture were present in young people’s lives of the time, including those moments in which they took to 1 Colin Maccinnes, Absolute beginners (London: Allison & Busby, 1959), p. 14. 2 On this, Paul Ginsborg, Storia d'Italia 1943-1996. Famiglia, società, Stato (Torino: Einaudi, 1998). 3 Paul Morley, The North (And Almost Everything In It) (London: Bloomsbury, 2013), p.
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