The Phantom of Subversive Violence in Italy

"Banca Nazionale dell'Agricoltura" building, inside of which the terrorist bombing in Piazza Fontana was carried out on December 12, 1969. (Picture taken on December 12, 2007). © Piero Montesacro | Wikimedia Commons

Forty three years ago, on 12 December, 1969, a bomb exploded in a crowded bank in Piazza Fontana, Milan, killing seventeen and wounding eighty eight. This bomb was the first in a series of terrorist massacres performed as part of the so-called “strategy of tension,” a political climate of terror orchestrated by a variety of right-wing organizations which aimed at promoting “a turn to an authoritarian type of government.” (see Anna Cento Bull’s study on Italian Neofascism) Other major bomb massacres followed: in 1974, during an anti-fascist demonstration in the Northern city of Brescia and on a train traveling from Florence to Bologna. Bologna was also the stage of another dramatic massacre, when a bomb exploded in the waiting room of the central railway station, on 2 August 1980: eighty-five people died (including a three-year old girl), two hundred were wounded.

Needless to say, the 1970s have a bad reputation, in Italy. Notwithstanding the fact that two neo-fascist terrorists were sentenced for the Bologna massacre, there are still too many unresolved issues and (state) secrets for Italians to make amends with this difficult past. In fact, the so-called “years of lead” are known mostly for the large number of terrorist attacks carried out by both left-wing and right-wing terrorists, as well as other forms of “subversive” violence. These have given shape to a “collective trauma” which the country has failed to come to terms with, in spite of official monuments and annual commemorative rituals that really only contribute to the silencing of memories.

The lack of a commonly shared, official memory of these events might explain why there are so many cultural products that take on the issue of 1970s political violence. A number of movies produced since 2000, for example, have tried to narrate the story of the 1970s, in different ways and with different purposes.

Recently, acclaimed filmmaker Marco Tullio Giordana has attempted to visualize the traumatic memory of the Piazza Fontana . . .

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