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Photofascism
Photography and fascism in interwar Europe developed into a highly toxic and combustible formula. Particularly in concert with aggressive display techniques, the European fascists were utterly convinced of their ability to use the medium of photography to manufacture consent among their publics. Unfortunately, as we know in hindsight, they succeeded. Other dictatorial regimes in the 1930s harnessed this powerful combination of photography and exhibitions for their own odious purposes. But this book, for the first time, focuses on the particularly consequential dialectic between Germany and Italy in the early-to-mid 1930s, and within each of those countries vis-à-vis display culture. The 1930s provides a potent case study for every generation, and it is as urgent as ever in our global political environment to deeply understand the central role of visual imagery in what transpired. Photofascism demonstrates precisely how dictatorial regimes use photographic mass media, methodically and in combination with display, to persuade the public with often times highly destructive-even catastrophic-results.
eBook
Alberto Breccia’s Parody of Futurist Paintings in Modern Bande Dessinée: Resisting Transatlantic Fascism
During wars, art and culture often develop a “culture of camouflage” (Ojeda 68) to invite the reader to decipher hidden meanings as a form of political subversion. In Argentina, the ‘Golden Age’ of comics emerged in the 1940s in response to the rise of Fascist sentiments originating from the Futurist leader Filippo Tommaso Marinetti’s transatlantic propaganda and flourished in the following decades. During and following the ‘Process of National Reorganisation’ from 1976 onwards, illustrator Alberto Breccia used graphic narratives as a form of counter-censorship as he appropriated Futurist aesthetics and the conventions of the modern bande dessinée. He considered this method as being able to allow “artistry and imagination [take] over from logical progressions” (Grove 25). Using this form, he encouraged the public to reflect on Argentina’s changing transatlantic landscape. This paper examines to what extent Breccia’s Le Coeur Révélateur: Et Autres Histoires Extraodinaires d’ Edgar Poe (1995) borrows Futurist visuality and makes use of the flexibility of the settings in Poe’s stories. This is done to recreate the haunting figures of history as they “turn away from the original work” to “conceive new forms of storytelling that explore the medium-specific properties of the host medium” (Baetens 7). This paper employs an interdisciplinary approach as, in addition to reading Poe’s original texts, this article also discusses Breccia’s appropriation of Futurist techniques, including “Divisionism, the use of threadlike brush strokes,” uniform application of colours according to their “precise tone and luminosity” (Rainey 9), and the dynamic sensation (Boccioni 46).
Journal Article
From fascism to populism in history
\"Fascism and populism are at the center of political discussions today. Although they are often conflated, they represent alternative global trajectories. This book represents a historian's inquiry into how and why fascism became linked with populism in history. Stressing the significant differences between populism as form of democracy and fascism as a form of dictatorship, From Fascism to Populism in History rethinks the conceptual and historical experiences of fascism and populism by assessing their elective ideological affinities and substantial political differences in history and theory\"--Provided by publisher.
Book
The \new man\ in radical right ideology and practice, 1919-45
\"An exploration of the ideological attempts by far-right movements across Europe and beyond to create an idealized version of the human race, or a 'new man', during the fascist epoch of 1919 to 1945\"-- Provided by publisher.
Book
Mussolini's children : race and elementary education in Fascist Italy
\"\"Mussolini's Children\" uses modern theories of race and biopolitics and the lens of state-mandated youth culture--elementary education and the auxiliary organizations designed to mold the minds and bodies of Italy's children between the ages of five and eleven--to understand the evolution of Fascist racism\"-- Provided by publisher.
Book
