The relationship between film promotion and the wider economy has scarcely been studied in Italy. This article explores the influence of American exploitation techniques in the peninsula in the years following World War Two and the responses of the Italian film industry. It is shown that, though many advocated imitating American practices in the fields of advertising and promotion, over time the industry learned not only to appropriate successful techniques but to adapt them in ways that were better suited to products that were often presented as being more ‘cultural’ than ‘commercial’. Attention is paid to the way film directors were drawn into campaigns to underline the cultural value of their works. By the same token, Italian stars were not cast as cheerleaders for the developing consumer economy in the way that American stars had been. Yet linkages between film making and advertising were nevertheless forged through practices of product placement that exploited the loophole of ‘verisimilitude’. Hollywood runaway productions like Roman Holiday set the tone for the insertion of Vespa scooters, automobiles and other goods in feature films. The article evaluates the interplay of the cultural and the commercial in Italy’s postwar economic revival and the role of cinema in its development as a mass consumer society.

中文翻译：

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“我们有一切可以向美国人学习”：1945-1965 年意大利的电影推广、产品植入和消费文化

在意大利，电影推广与更广泛经济之间的关系几乎没有研究过。本文探讨了二战后美国在半岛的剥削技术的影响以及意大利电影业的反应。这表明，尽管许多人主张在广告和促销领域模仿美国的做法，但随着时间的推移，该行业不仅学会了适当的成功技术，而且还以更适合经常被展示为更“好”的产品的方式来调整它们。文化”大于“商业”。关注电影导演被吸引到强调其作品文化价值的活动中的方式。出于同样的原因，意大利明星不像美国明星那样被选为发展中消费经济的啦啦队长。然而，电影制作和广告之间的联系仍然是通过利用“逼真”漏洞的植入式广告实践来建立的。好莱坞失控的作品，如罗马假日，为在故事片中加入 Vespa 踏板车、汽车和其他商品奠定了基调。文章评估了文化和商业在意大利战后经济复苏中的相互作用以及电影在其作为大众消费社会发展中的作用。