Photofascism : photography, film, and exhibition culture in 1930s Germany and Italy

著者

    • Rocco, Vanessa

書誌事項

Photofascism : photography, film, and exhibition culture in 1930s Germany and Italy

Vanessa Rocco

（Visual cultures in German contexts）

Bloomsbury Visual Arts, 2020

  • : hb

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注記

Summary: "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, ... "

Includes bibliographical references (p. [157]-170) and index

収録内容

  • Last stop before photofascism : activist photo spaces and the exhibition of the Building Workers Unions, Berlin, 1931
  • "Acting on the visitor's mind" : the Exhibition of the Fascist Revolution, Rome, 1932
  • Nazis in ascendance : Die Kamera, Berlin, 1933
  • "A fundamental irony" : international art in the age of nationalism at the Venice International Film Festivals 1932-36
  • Both/And : German and Italian photography exhibitions in 1936-37
  • Epilogue : Hegemony to terror, 1938-1942 & visual culture in the 21st century

内容説明・目次

内容説明

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-a-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.

目次

Table of Contents Introduction: Designing, Displaying, Facilitating Fascism Chapter 1: Last Stop Before Photofascism: Activist Photo Spaces and the Exhibition of the Building Workers Unions, Berlin 1931 Chapter 2: 'Acting on the Visitor's Mind': Exhibition of the Fascist Revolution, Rome 1932 Chapter 3: Nazis Ascendant: The Camera, Berlin 1933 Chapter 4: "A Fundamental Irony": The Venice International Film Festivals 1932-36 Chapter 5: Both/And: German and Italian Photography Exhibitions in 1936 and 1937 Epilogue: Total War, 1938-1942, and Visual Culture in the 21st century Bibliography Index

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