Vol. 7: Da Capitale Politica a Capitale Industriale (Torino:
4 N. Tranfaglia, Storia di Torino Vol. 9. Gli Anni della Repubblica (Torino: Giulio Einaudi,
1999), p. 19.
5 B. De Sario, Resistenze Innaturali (Milano: Agenzia X, 2009).
6 R. Farano (‘Tax’), interview with author, 12 March 2011.
7 M. Mathieu, interview with author, 19 February 2011. Similarly, G. Capra, interview
with author, 18 March 2011, recalled: ‘I was never interested in 1977 punk; my cultural step was directly from Genesis to Dead Kennedys; from Gentle Giant to DOA
somebody should come along
to threaten or embarrass me about Irita, I would say, “Go right ahead.”’7
To their credit, Roosevelt and the press kept quiet. The public only became
aware of the affair when, in 1948, the film State of the Union was released.
Directed by Frank Capra, it is loosely based on the 1940 presidential campaign.
Willkie is wonderfully portrayed by Spencer Tracy, with Angela Lansbury
playing the role of Irita Van Doren. Katherine Hepburn plays Willkie’s long-
suffering wife (as opposed to real life where she was Tracy’s long-suffering
in the film
and documentaries on Pavese, however, centres upon the women in his life: his
sister Maria, Pizzardo, Elena the daughter of his landlord who cleans his house
and with whom he has an affair, and Concia, a servant girl who in the short
novel Il carcere upon which the feature film is based, is described as ‘bella come
una capra. Qualcosa tra la statua e la capra’25 (as beautiful as a goat. Something
between a statue and a goat). Indeed, each of these women is constructed as a
projection of fantasy and represents something different to Pavese. Through their
Selling the Reagan revolution through the 1984 Olympic Games
’; B. Shaikin, Sport and Politics:
The Olympics and the Los Angeles Games (New York: Praeger, 1988); K. Reich, Making
it Happen: Peter Ueberroth and the 1984 Olympics (Santa Barbara, CA: Capra Press,
Selling the Reagan revolution 239
7 R. Edelman, ‘The Russians are not coming! The Soviet withdrawal from the Games of
the XXIII Olympiad’, International Journal of the History of Sport, 32:1 (2015).
8 A. Tomlinson, ‘Los Angeles 1984 and 1932: commercializing the American dream’,
in A. Tomlinson and
when he personally hired renowned fiction film director Frank Capra to
work on the Why We Fight non-fiction film series (1942–5).
Marshall even publicly defended his mobilisation of cinema at the Senate
in response to accusations of trivialisation of the war effort. 5 While the Why We
Fight series was produced for US audiences, the MP documentary films
were commissioned exclusively for European ones, while a parallel and
Juvenile actors and humanitarian sentiment in the 1940s
A. Bazin , ‘ Germany, Year Zero’ , in B. Cardullo (ed.), Bazin at Work: Major Essays and Reviews from the Forties and
Fifties , trans. A. Piette and B. Cardullo ( New York and London : Routledge , 1997 ), p. 121 .
Anon ., ‘ Three Little Movie Girls ’, LIFE (26 February 1945 ), pp. 71