During the 1930s, light comedies known as Telefoni Bianchi ("white telephones") were predominant in Italian cinema. These films, which featured lavish set designs, promoted conservative values and respect for authority, and thus typically avoided the scrutiny of government censors. Telefoni Bianchi proved to be the testing ground of numerous screenwriters destined to impose themselves in the following decades (including Cesare Zavattini and Sergio Amidei), and above all of numerous set designers such as Guido Fiorini, Gino Carlo Sensani and Antonio Valente, who, by virtue, successful graphic inventions led these productions to become a kind of "summa" of the petty-bourgeois aesthetics of the time.
durInG the 1930S, liGht coMEdiES kNown As tELEfOnI biAnChi ("whitE teLephones") werE pRedomInANT iN italiaN cineMa. THese Films, WHich FeatuReD lavish SeT designs, PRoMoted coNservative values and reSpecT for AutHority, and Thus typIcally aVoidEd the scrUtiny oF goVernment CenSoRs. tElefOnI bianchi proved to be tHe TestInG gRound of NumeROus sCreenwrIters desTIned To iMpose THemSeLVEs in tHe follOWing deCadEs (iNCluDinG cEsaRe ZaVATTini AND sergIo amiDei), ANd above all oF nUmerOuS seT dEsIGnERS suCh AS gUidO fiORini, ginO carlO sensAnI and anTOnio vaLente, WHo, by virtuE, suCCeSsful graphIc inveNtionS leD These prODUctiONS to Become a kiND of "sumMA" of the pettY-BOurGeOis AeSThEtics of tHe tIme.