In 1934, Benito Mussolini’s Fascist regime firmly intervened in the crisis of
Italian cinema and the shaping of a national film culture. Among its major actions, the
regime centralized all the cine-clubs, film associations, and amateur cinema organizations
within the Fascist University Groups (Gufs). Their objective was to reform amateur film
practice toward what we might call a committed, rationalized, and top-down-driven
avant-garde. This article will examine how amateur filmmaking practices were transformed
into an instrument that served the totalitarian state, as well as how a semantic shift from
the notion of amateur to experimental cinema took place in relation
