Beyond the webs of ideology: Orson Welles’s Othello in post-war Italy

This article focuses on Orson Welles’s filmic adaptation of Othello (1951) with attention to how the filmic form interacts with the historical background of post-war Italy. The country where the director first took refuge after being virtually blacklisted from Hollywood did not seem to welcome his controversial style either. Taking the hint from the biased responses of most Italian critics to Othello, the article explores Welles’s revision of Shakespeare’s tragedy in relation to the early-1950s Italian landscape. I shall analyse how the visual techniques of the film create a challenging style that ensnares and engages the audience. The dominant imagery of entrapment can have a meta-cinematographic effect that disturbs the mimetic function of the screen. The resulting formal inconsistency and disunity of the film defies a totalizing notion of the work of art and invites the viewers to question and go beyond ideologically biased interpretations of the sociopolitical scenario it springs from. My aim is to show that Othello offers an intellectual engagement that goes beyond the webs of ideology which trapped the Italian post-war situation and leads to a more complex confrontation with the most urgent issues in the country.