The nightmare of Berlusconi’s media empire

The Film Interview: Erik Gandini on celebrity culture in modern Italy.

Erik Gandini is a Swedish-Italian director. His film "Videocracy" is a dark psychological study of the power of celebrity culture in Italy and the role of the media empire that belongs to the Italian prime minister, Silvio Berlusconi. It won the Special Jury Award at last year's Sheffield International Documentary Festival.

Other film-makers have tackled Berlusconi's regime and rise to power directly, but you've taken a different approach. What was that, exactly?

I wanted to show the rise of his TV empire and the cultural revolution it has created in Italy, which we refer to as Berlusconismo. Television has incredible impact on Italy. Eighty per cent of Italians use television as their main source of information. And there is an expression that Berlusconi himself coined, that "What is on TV exists, what is not on TV does not exist".

So, for 30 years now, because he started his TV channels in the late 1970s, we have been subjected to a culture that is actually the expression, the mirror, of his own personality. For example, he likes women a certain way, he likes women to be big-breasted and very exposed. He started this probably as a business idea, to show something that the other TV networks were not showing. But then it became really totalising and dominating in a way that has no equal in other countries. And when I'm talking about the cultural revolution I mean that, we will all become like him somehow. All these cultural elements, which are typical of his own view of the world, of his values, have become Italian in a way that is actually kind of accidental.

One of the creepiest figures you introduce us to is Lele Mora -- a kind of Simon Cowell figure and a key ally of Berlusconi -- who shows off his collection of fascist-era songs on his mobile phone. What is the relationship between the fascist era and current celebrity culture in Italy?

Italy is not a fascist country, but if there is something totalitarian in our culture, it's in a very modern way. This celebrity culture has created a system of values which is actually a system of non-values where nothing really matters. I don't think Lele Mora is a politically convinced fascist -- I think he's more an example of lack of ideology rather than ideology. And that is even more scary, because in Italy now I think the core of this culture is the pressure to always be having fun.

The connections between Berlusconi and Mussolini are more on a physical level. Berlusconi is a very physical politician in a way that Italian politicians were not until Berlusconi came to power. Politicians were really brainy and hard to understand when they spoke, while Berlusconi uses his body, his smile, his virility, in a way that is similar to Mussolini.

Aside from that, he has such a modern way of running politics. And I would say it's a much more TV-savvy way. Everything is about impression. If you can create impressions that work emotionally, that is what Berlusconi is a master of. He is always presenting himself as a victim even though he is really the man with the highest privileges in the country.

He was hit in the face, for example, in Milan about a year ago and there was suddenly a picture of him bleeding. I think this was the best thing that could happen to him in terms of this, this image he wants to create of someone you feel sorry for. And as a matter of fact it was very successful because all the scandals that he was involved in were suddenly dropped.

I was in Italy myself at the time to launch Videocracy and I had several TV and newspaper interviews cancelled because the reporters had been given directions not to sort of raise the temperature of the hate against Berlusconi because in those days he had been hit in the face. This is the kind of self-censorship that is really present in Italy now.

As the film progresses it becomes less political and more psychological, particularly when you look at ordinary Italians who are consumed by their desire to be famous, or to appear on reality TV. Is that something unique to Italy, or is it a wider problem?

If you look at Italian TV, or if you live with it, you have constantly this message that you should have fun. There is something very scary in going to a shopping mall outside Milan [a scene from the film], for example, and watching these young girls dancing and preparing for a game show.

Yet the film doesn't sneer at people with these dreams. Do you see any way out for them? Is the desire to be famous fulfilling in some way, or is it just a trap?

This is one side of Italy that is very dominant now and it's not the whole of Italy, of course. Ricky [a young man who wants to enter Italy's version of Britain's Got Talent] is a good example, because he is really a victim of that. He is just a working-class guy whose dream is to empower himself. And in Italy the best way to empower yourself is to get into television somehow. Berlusconi even picks people from television and turns them into politicians, into members of parliament.

You've made a film, essentially, about television. In terms of techniques, was there anything you did to question the power of moving images themselves?

I know exactly what you mean. Many people perceive Videocracy as kind of a soft film, because it is not a classic investigation or challenging of power. But when this television is telling you to have fun, if this culture is really focusing on just showing the good side of life, then I want to use a cinematic language to tell the opposite. This TV culture would never tell you about the dangerous side of its own world, or the sense of fear that exists.

Somehow Berlusconi always succeeds because, as I said before, with the example of creating impressions, he always reaches for the stomach and the heart of people. And that's why I want to try to use this same language but to say something different. I'm not sure if it works, but I know that many people in Italy went to see this film -- people who would not necessarily go to see this kind of film otherwise. Because characters like Lele Mora were so famous there was a huge reason for people to go and see it.

So really you're taking elements of that celebrity culture and subverting them?

Somehow yes, because that world -- in Italian we call it il mondo della televisione -- has some sort of monopoly over itself. Lele Mora was very angry when the thing was shown; usually he has total control over how he's portrayed, and how he's presented on TV, because it's all his friends who run television in Italy. I live in Sweden and there's a strong independent film-making tradition, like there is in the UK, but unfortunately it's not common in Italy.

"Videocracy" is out now on DVD from Dogwoof.

Daniel Trilling is the Editor of New Humanist magazine. He was formerly an Assistant Editor at the New Statesman.

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The continuity between Ed Miliband and Jeremy Corbyn

The left say that the former leader created crucial intellectual and political space for them.

One of the errors in the leaked list ranking Labour MPs by favourability to Jeremy Corbyn was the inclusion of Ed Miliband in the "negative" category. Most in the party believe the former leader is better described as sympathetic to his successor. In recent interviews he has defended his leadership more robustly than many shadow cabinet members and has offered him private advice.

Last year I reported on speculation that Miliband could return to the shadow cabinet (a rumour heard again this week). Those close to the former leader continue to dismiss the possibility but he will appear with Corbyn today at a pro-EU climate change rally in Doncaster - the first time the pair have shared a platform. "Ed's more engaged than he's been for a long time," a friend told me.

Though Miliband did not vote for Corbyn in last year's leadership election (sources say he backed Andy Burnham), there is notable continuity between their political projects. In interviews with me, shadow chancellor John McDonnell and Momentum chair Jon Lansman have spoken of how the former leader created crucial intellectual and political space for the left. Those on the party's right make the same point - if rather less positively. A former shadow cabinet member told me that "the left of the party was indulged for five years and wasn't challenged".

It was under Miliband that Labour first identified as an "anti-austerity" party, with the then leader addressing a 2011 anti-cuts march. Though this stance was later abandoned, as emphasis was put on the need for public spending reductions (with room left to borrow for investment), it provided Corbyn with an opening to exploit.

It was also Miliband who denounced the Iraq war and promised a new approach to foreign policy, declaring in his 2010 conference speech: "Our alliance with America is incredibly important to us but we must always remember that our values must shape the alliances that we form and any military action that we take." His refusal to support the government's proposed intervention in Syria in 2013 was hailed by him as preventing a "rush to war". By promising "a different kind of foreign policy - based on a new and more independent relationship with the rest of the world", and opposing all recent military actions, Corbyn has travelled further down a road taken by Miliband. 

The Labour leader's promise to give greater power to party members similarly follows Miliband's decision to give them the ultimate say over the leadership (the system that enabled Corbyn's victory). Rail renationalisation, limits on media ownership and opposition to privatisation were also stances either fully or partly embraced between 2010 and 2015. 

Many of those who voted for Corbyn backed Miliband in 2010 or joined after being attracted by his radical moments. For them, Corbyn, the only candidate to position himself to Miliband's left from the outset of the contest, was his natural successor. It was these left-leaning members, not Trotskyist entryists, who enabled his landslide victory. 

The continuity extends to personnel as well as policy. Simon Fletcher, Corbyn's director of campaigns and planning (formerly chief of staff), was Miliband's trade union liaison officer, while Jon Trickett, the shadow communities secretary (and key Corbyn ally), was a senior adviser. If Miliband is more open to the Labour leader's project than many other MPs, it may be because he recognises how much it has in common with his own.

George Eaton is political editor of the New Statesman.