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The present essay will discuss the work of Austrian film director Willi Forst. Active in Austria and Germany from the early 1930s to the end of the 1950s, Forst has been commonly regarded as one of the great names in the history of German-speaking cinema. In discussing the influence of Austria’s culture on Forst’s work, this essay will seek for an element of Forst’s affinity for it in the aesthetics and ideology which informed Forst’s oeuvre.

The present essay deals with the representation of the First World War in Italian cinema of the 1930s. Approaching the subject from a new and different perspective, the essay aims to specifically discuss the way in which the Austro-German enemy has been depicted in Marco Elter’s film Le scarpe al sole and Oreste Biancoli’s Piccolo alpino . The essay’s purpose is to shed new light on these films, which stand exemplarily for the changing representation of the First World War in Italian films in the 1930s.