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Release Date: 2009 Duration: 85 min Cast: Flavio Briatore, Lele Mora, Nina Heric, Fabio Calvi, Fabrizio Corona, Simona Ventura Categories: Movies, Culture & Society, World cinema, Film, Film & Television History, War film, Political drama, Social issues, Documentary Videocracy is a 2009 documentary film directed by Swedish-Italian Erik Gandini about Italian television and its impact on Italian culture and politics, and about Silvio Berlusconi's powerful position in these. Erik Gandini coined the phrase The Evilness of Banality to describe the cultural phenomenon of Berlusconismo. Thus making a word play on Hanna Arendt's Banality of Evil. Soon after its Videocracy is a 2009 documentary film directed by Swedish-Italian Erik Gandini about Italian television and its impact on Italian culture and politics, and about Silvio Berlusconi's powerful position in these. Erik Gandini coined the phrase The Evilness of Banality to describe the cultural phenomenon of Berlusconismo. Thus making a word play on Hanna Arendt's Banality of Evil. Soon after its theatrical premiere in Sweden, the film was shown at the 66th Venice International Film Festival where it gained massive attention. The trailer for the film has been banned by most Italian television broadcasters. Videocracy uses the theme tune to Silvio Berlusconi's presidential campaign and now party theme, Meno male che Silvio c'è!. When first hearing it Videocracy's director Erik Gandini thought it was satire. Videocracy has won awards at Toronto Film Festival, Sheffield Doc/Fest, the Golden Graal awards and the Tempo Documentary Award 2010. Videocracy has been widely distributed internationally, released theatrically in the USA, UK, Holland, France, Poland, Sweden among other. In Italy where it opened in 90 theaters across the country on the weekend of September 4, 2009, Videocracy became 4th in the Box Office rankings. LESS |
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How can you explain what’s happened to Italy in the age of its current prime minister, Silvio Berlusconi? Videocracy is director Erik Gandini’s critically-acclaimed inquiry into the mercenary underbelly of the high-glitz, low-politics, skin-baring media culture promulgated by Berlusconi’s ownership of the majority of the country’s television stations — a powerful tool in shaping public opinion to his financial and political benefit. Approaching the material as both insider and outsider, Gandini (Gitmo: The New Rule of War) gains remarkable access to the opulent world of Berlusconi’s associates and the armies of willing wannabes that swarm around them, examining the key players (and their conflicted interests) and unveiling a modern Italy as both comedy and tragedy.
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