Academic literature on the topic 'Fascist propaganda art'
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Journal articles on the topic "Fascist propaganda art"
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Alix-Nicolaï, Florian. "Exile Drama: The Translation of Ernst Toller's Pastor Hall (1939)." Translation and Literature 24, no. 2 (July 2015): 190–202. http://dx.doi.org/10.3366/tal.2015.0201.
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Ernst Toller's Pastor Hall, one of the first plays to depict life in a concentration camp, counts among the few anti-Nazi dramas translated into English before World War Two. The process by which it came to the British stage reveals the impact of censorship on authors and translators of anti-Fascist plays. It also reveals conflicting aesthetic strategies to tackle fascism. While Toller relied on straightforward documentary realism, one of his translators, W. H. Auden, championed anti-illusionism and distrusted propaganda art. In the cultural fight to reclaim Germany's heritage from the Nazis, German writers in exile viewed translations as urgent messages demanding prompt action, whereas British writers tended to see them as an archive for future generations.
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MYERS, LINDSAY. "Meo's Fists – Fighting For or Against Fascism? The Subversive Nature of Text and Image in Giovanni Bertinetti's I pugni di Meo." International Research in Children's Literature 1, no. 1 (July 2008): 1–15. http://dx.doi.org/10.3366/e1755619808000069.
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During the 1920s and 1930s Italian children's literature was heavily influenced by fascist propaganda. Stories which celebrated patriotism, militarism and obedience appeared in great numbers as did biographies of Mussolini. Children's book illustrations also underwent stylistic changes becoming more statuary and geometric in accordance with the principles behind fascist architecture and propagandist art. Not all of the Italian writers and artists who ostensibly endorsed fascist ideologies, however, were entirely compliant with fascist dictates. Careful reading of some of the key works by writers and artists outwardly supportive of the regime reveals underlying subversive political ideologies, the majority of which have yet to be acknowledged. One of the ways in which writers and artists of the fascist period inscribed subversive ideologies in their works was by manipulating contemporary visual and verbal codes. This paper focuses on the dialectic of text and image in Giovanni Bertinetti's I pugni di Meo [Meo's fists], a children's fantasy, illustrated by the well-known artist, Attilio Mussino. Situating text and illustrations in their socio-political context, it discusses how these artists manipulated words and images to convey an ideology of moderation in the midst of excessive use and abuse of power in Italy in the 1930s.
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Kozyryanov, A. V. "DEFENSE THEMES IN SOVIET FILMS AND ANIMATION OF THE 1930S." Vestnik Bryanskogo gosudarstvennogo universiteta 06, no. 02 (June 30, 2022): 72–82. http://dx.doi.org/10.22281/2413-9912-2022-06-02-72-82.
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The article deals with Soviet defense films of the 1930s as part of a general ideological trend. On the example of defense films, the author traces the importance of mobilization themes in Soviet propaganda in the second half of the 1930s. The role of defense themes in Soviet art of the 1930s is clearly traced. In the 1930s, in the Soviet Union, attempts were made to turn cinema into the main instrument of ideology and propaganda. Defense films emphasize the methods of Soviet propaganda. The author analyzes the quantitative indicators of produced films, in particular, the percentage of defense films in the total production of films in the 1930s. This article proves the paramount importance of the defense theme and agenda in the Soviet propaganda of the 1930s. In addition, the author considers historical films of the second half of the 1930s, as well as anti-fascist films of the same period, as films that perform defense functions. On the basis of the reviewed material, the author concludes that military and defense themes and moods dominated the Soviet ideology and propaganda of the period under study. Thus, all the most important ideological trends can be traced in cinematography. On the example of defense and historical films, key elements of Soviet ideology and propaganda of the 1930s are traced.
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Righettoni, Vanessa. "Photomontage in the Fascist Magazine La Difesa della razza." Cromohs - Cyber Review of Modern Historiography 25 (January 31, 2023): 43–67. http://dx.doi.org/10.36253/cromohs-13960.
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Through the analysis of some particularly significant examples, the article analyses the use of photomontage within the fascist magazine La Difesa della razza between 1938 and 1942: starting with the well-known first cover, which later became the logo of the periodical and blends together anti-Semitism and anti-black racism; up to some later images denigrating Africans, which also open up a reflection on the instrumental use of prints and works of art from the early modern era in racist polemic; and then ending with the anti-Semitic polemic during the Second World War and the question of the circulation of visual stereotypes in different fields and newspapers. As is evident from the examples examined, this cut-and-paste technique of assembling images and texts offered a way of disassembling, reassembling and manipulating heterogeneous sources, weaving them into a new texture: a modern language mobilised to engage the viewer through violent visual propaganda.
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Sikorski, Tomasz. "„Klatka Ezry”. Między poezją a polityką." Studia nad Autorytaryzmem i Totalitaryzmem 38, no. 3 (July 11, 2017): 53–73. http://dx.doi.org/10.19195/2300-7249.38.3.4.
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EZRA’S CAGE”. BETWEEN POETRY AND POLITICSEzra Pound 1885–1975 was, next to Thomas Stearns Eliot, the most prominent American poet of modernist. He was considered the creator of vorticism and imagism — modern trends in art and world culture. In his works he reached to different eras and cultural trends. He was as well fascinated by medieval Provençal, Spanish and Italian literature, and Japanese art of haiku. On his work also had an impact scholasticism, Confucianism and Far East literature. In addition to poetry, Pound was also involved in literary criticism, painting and sculpture, he wrote historiosophical essays and dramas. The greatest fame brought him, however, written for many years, „Canto”. During his stay in the British Isles he also dealt with politics and economics. He was considered a supporter of the theory of Social Credit of Hugh Douglas Clifford, aBritish engineer and economic theorist. In the early twenties Pound went to Italy. Here he became fascinated with fascism and the person of Benitto Musollini. In his works including his poetic works appeared clear fascist and anti-Semitic accents. He criticized Jewish international financiers and banking critique of usury. During World War II he gave propaganda „talks” in the Italian radio. He praised the organization of the fascist state and fascism as an idea, and at the same time warned the threat from international Jewish conspiracy. His views meant that he was accused of collaboration and treason. He was arrested and imprisoned in the US prison camp near Genoa. He spent almost amonth in aclosed cage. During his stay in the camp he had nervous breakdown. After transportation to the United States for many years he was locked out in hospital for mentally ill. After leaving the hospital, he returned to public space. Still creative, he was nominated for the most prestigious literary awards. His works have been translated into many languages around the world, including Polish. He died in Italy in 1975.
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Marcello, Flavia, and Paul Gwynne. "Speaking from the Walls." Journal of the Society of Architectural Historians 74, no. 3 (September 1, 2015): 323–43. http://dx.doi.org/10.1525/jsah.2015.74.3.323.
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The Città Universitaria (or University City), built in Rome in the mid-1930s, used the reception of classical culture as a propaganda tool through its architecture, art, urban layout, and use of epigraphy. As Flavia Marcello and Paul Gwynne demonstrate, these elements communicated the broad sociopolitical construct of militarism and education characteristic of the Italian Fascist period. Building inscriptions using the immortal words of classical authors had both didactic and referential functions: they spoke peremptorily of accepted modes of behavior and highlighted the role of educated youth in the destiny of an (ideal) Fascist society within its teleological project of Romanità as past, current, and future glory. Speaking from the Walls: Militarism, Education, and Romanità in Rome’s Città Universitaria (1932–35) weaves together sociopolitical, cultural, and architectural frameworks through the study of epigraphy as a carefully constructed presence within orchestrated urban and interior space. Epigraphy completed the spatial experience of architecture in its urban context to construct the collective memory and identity of past, present, and future citizens of Italy.
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Buchloh, Benjamin H. D. "The Dialectics of Design and Destruction: The Degenerate Art Exhibition (1937) and the Exhibition internationale du Surréalisme (1938)." October 150 (October 2014): 49–62. http://dx.doi.org/10.1162/octo_a_00200.
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As a genre of cultural production, where iconic (painterly or photographic), sculptural, and architectural conventions intersect to represent the uniquely specific and current conditions of experience in public social space, exhibition design by artists has only recently emerged as a category of art-historical study. While earlier discussions of El Lissitzky's design of the Pressa exhibition in Cologne in 1928, an exhibition that likely had the widest-ranging impact and is the central example of such an emerging genre in the twentieth century, might have served as a point of departure,1 Romy Golan's important, relatively recent book Muralnomad2—primarily concerned with the history of mural painting and its various transitions into exhibition design—has to be considered for the time being the most cohesive account of the development of these heretofore overlooked practices. Yet, paradoxically, two of the most notorious cases of the historical development of exhibition design after Lissitzky are absent from her study: the infamous Degenerate Art exhibition that opened in Munich on July 19, 1937 (two days after the opening of Nazi Fascism's first major propaganda building, Paul Ludwig Troost's Haus der Deutschen Kunst, and its presentation of German Fascist art in the Grosse Deutsche Kunstausstellung),3 and the Exposition internationale du Surréalisme in Paris, which was installed by André Breton and Marcel Duchamp six months later and 427 miles to the west, on January 17, 1938, at Georges Wildenstein's Beaux Arts Galleries in Paris.4
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Fritzsche, Sonja. "Fascist drag." Science Fiction Film & Television 15, no. 1 (February 1, 2022): 21–39. http://dx.doi.org/10.3828/sfftv.2022.3.
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Timo Vuorensola’s Finnish-German sf satire Iron Sky (2012) tells the story of a Nazi invasion from the Moon. At the time, a Nazi return seemed to be far-fetched, even ridiculous. The pointed critique of a Sarah Palin-like president who wins a second term using fascist propaganda techniques was overshadowed by the film’s space opera setting. Although certainly not unique in its critique of the US, this Naziploitation parody was eerily prescient with regards to what Umberto Eco has termed an eternal fascism that will return again and again. Thus, the film invites further questions regarding what is a shift away from the one-sided representation of Nazis in popular sf film. Through a discussion of German scholar Katrin Sieg’s term “ethnic drag,” this article analyzes the intersections of the representation of race and fascism in the film. It posits the term “fascist drag” to refer to Nazi representation as well as a linguistic break in which discussions of fascism in the West became taboo during the Cold War. These movements have until recently remained buried in postwar memory and rehearsed in the popular imagination.
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Makarova, O. S. "Role and Importance of Propaganda Work of Theatrical Art Workers on Formation of Public Legal Consciousness During the Period Great Patriotic War of 1941–1945." Sociology and Law, no. 4 (January 18, 2020): 34–39. http://dx.doi.org/10.35854/2219-6242-2019-4-34-39.
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The article examines the problems of propaganda work carried out during the war as a basis for strengthening the legitimacy of the ruling Communist party in the USSR. The contribution of theater workers to the cohesion of Soviet society in the fight against fascism is investigated. New archival documents related to the propaganda work of Soviet cultural workers are introduced into scientific circulation.
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Garofalo, Piero, and Giorgio Farabegoli. "Churches without bells in Fascist Italy." Modern Italy 24, no. 3 (January 31, 2019): 245–64. http://dx.doi.org/10.1017/mit.2018.48.
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This article examines how Fascism’s economic autarky impacted on church construction in the late 1930s. The shortage of copper in Italy due to sanctions imposed by the League of Nations and the ensuing Italian policy of self-sufficiency led to the installation of loudspeakers instead of bells in newly erected churches. The amplified sound of recordings and of tubular bells could be heard from far greater distances than that of traditional bells. Although these technologies disregarded the Catholic Church’s directives on utilising modern technical equipment in liturgy, their use was tolerated because of the economic circumstances. Indeed, some clergy endorsed these sound systems as a means of modernising the Church and as an act of patriotism. The practice, however, risked conflating ecclesiastical and Fascist broadcasts since the use of loudspeakers for political propaganda was widespread. In one case, the Fascist anthemGiovinezzawas played regularly from a church belfry: after the war, furious citizens destroyed this audio system. The decision by dioceses as to whether to adopt technological alternatives to bells exposed the conflicting positions within the Church towards both modernity and the Regime.
Dissertations / Theses on the topic "Fascist propaganda art"
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Petcavage, Stephanie. "Fascist Art and the Nazi Regime: The Use of Art to Enflame War." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1463130930.
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Giorio, Maria Beatrice. "Gli scultori italiani e la Francia. Influenze e modelli francesi nella prima metà del Novecento." Doctoral thesis, Università degli studi di Trieste, 2012. http://hdl.handle.net/10077/7419.
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2010/2011Lo studio ha analizzato la presenza degli scultori italiani a Parigi dall'inizio del XX secolo alla fine degli anni Trenta, con l'obiettivo di ricostruire un capitolo importante della storia degli scambi artistici in Francia. Ci siamo serviti del metodo storico-filologico che è stato applicato agli scritti critici e alla stampa d'epoca. Per quel che riguarda l'inizio del secolo, abbiamo rilevato una partecipazione italiana considerevole ai principali eventi espositivi della capitale come i Salons ufficiali; il successo commerciale e di pubblico aveva consentito loro di ottenere un certo spazio tra gli artisti alla moda più conosciuti. Nel corso degli anni Venti abbiamo notato un numero meno significativo di scultori, interpretando questo fatto alla luce della situazione storica italiana, sottomessa a importanti cambiamenti, successivi all'ascesa del regime fascista. Gli italiani che si trovavano ancora in Francia in seguito alla Prima Guerra Mondiale non si inserivano pertanto all'interno delle ricerche artistiche italiane, dal momento che sostenevano degli indirizzi estetici ormai sorpassati. L'ultima parte del nostro studio si è concentrata sullo sviluppo del nuovo linguaggio artistico della penisola italiana, diffuso ormai anche all'estero. Gli scultori italiani potevano partecipare di conseguenza all'attività espositiva di Parigi, e mostrare il volto di una plastica finalmente cosciente delle proprie potenzialità. La Francia da parte sua acccoglieva di buon grado questo tipo di sperimentazioni al fine di creare un rapporto di amicizia duraturo con la nazione confinante.
This study has analyzed the presence of Italian sculptors in Paris from the beginning of the 20th Century to the end of the third decade, with the aim of reconstructing an important chapter of the history of artistic exchanges between Italy and France. We have favored an historical-philological method, based on critical publications and old French and Italian press. Concerning the beginning of the century, we have remarked a considerable participation of Italians in the main expositions in the French capital, such as official Salons; critical and market success allowed them to get a main role in the crew of the most popular artists. During the twenties, we have noted a less considerable participation of Italian sculptors; we have interpreted it in relation to historical context of fascist Italy, where the government was trying to develop a national cultural program. The Italian artists in France, after the First World War, didn't share the new Italian artistic orientation; they went on with outdated aesthetic choices. The last part of our research was interested in the development of the new Italian artistic language, finally known out of Italy. The Italian sculptors consequently could take part in arts activity in Paris, showing the face of a new sculpture, finally aware of its potentialities. France gave these experimentations a good welcome in the aim of constituting a longtime friendship with the Italian country.
Cet étude a analysé la présence des sculpteurs italiens à Paris du début du XX siècle à la fin des années Trente, afin de reconstituer un chapitre important de l'histoire des échanges artistiques en France. Nous nous sommes servis d'une méthode historique et philologique, qui a bien été appliquée aux écrits critiques et à la presse de l'époque. Pour ce qui concerne le début du siècle, nous avons remarqué une participation considérable de la part des italiens aux principaux événements expositifs de la capitale comme les Salons officiels; le succès de public et commercial leur avait permis d'obtenir une place parmi les artistes à la mode les plus connus. Pendant les années Vingt, nous avons constaté un nombre moins significatif de sculpteurs; nous avons lu ce fait en nous rapportant à la situation historique italienne, qui en ce temps subissait des importants changements dus à l'ascension du régime fasciste. Les italiens qui étaient encore présents en France après la Guerre ne s'inséraient guère dans le cadre des nouvelles recherches artistiques italiennes, ils poursuivaient, au contraire, des orientations esthétiques plutôt dépassées. La dernière partie de notre étude s'est intéressée à l'essor du nouveau langage artistique de la péninsule italienne qui pendant les années Trente se répandit enfin même à l'étranger. Les sculpteurs italiens pouvaient donc participer activement à la vie expositive parisienne, tout en montrant le visage d'une plastique qui avait enfin pris conscience de ses potentialités. La France de sa part accueillait volontiers ces expérimentations, dans le but d'instituer une relation d'amitié durable avec le pays voisin.
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Dauphin, Sandrine. "Art et totalitarisme : l'esthétique comme instrument de propagande." Paris 2, 1997. http://www.theses.fr/1997PA020070.
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Durant la premiere moitie du xxe siecle, l'affrontement entre les regimes communistes et fascistes ne se limita pas aux plans ideologiques et militaires mais concerna aussi le milieu culturel. En effet l'urss de staline, l'allemagne d'hitler et l'italie de mussolini ont cree une esthetique commune malgre leur opposition politique. Ces etats totalitaires ont ainsi mis les arts au service de leur propagande. Si l'art est un agent actif de communication entre les hommes, c'est parce qu'il est egalement un moyen d'expression de l'ideologie. Des lors, de quelle maniere l'art participa-t-il a l'embrigadement des individus ? l'architecture offrait l'apparat et le luxe ; son gigantisme exprimait l'autorite suscitant a la fois crainte et admiration. Quant aux arts plastiques, ils deifierent le chef supreme et annoncerent la venue de l'homme nouveau. Les arts donnaient donc forme a l'utopie totalitaire qui avait pour finalite de changer la nature meme de l'homme : annihiler toute forme d'individualisme, imaginer l'homme comme le simple rouage d'une immense machine, celle de l'etat tout puissant. Au bout du compte il s'agissait de persuader le peuple de sa superiorite pour l'amener a accepter tous les sacrifices dans une union spirituelle avec l'etat et son chef. L'art n'etait non pas le reflet de la societe mais le reflet de l'idee que se faisait le pouvoir de son peupleIn the first part of the twentieth century, the antagonism between communism and facism was not limited only to ideological and military levels but was also present at cultural levels. Indeed mussolini's italy, hitler's germany and staline's ussr created a common aesthetic in spite of political opposition. Thus, these totalitarian states exploited art for the purpose of propaganda. If art is an active agent of communication between men, then art can also be the manner for ideological expression. How then did art change, orientate and modify an individual's perception of the world in general? architecture reflected pomp and luxury while its large scale works expressed authority crousing fear and admiration at the same time. As for support of the "plastic arts", they allowed, deification of the supreme chief and permitted the announcement of the new man. Art was giving rise form to the totalitarian utopia which existed to transform human nature. Art was not simply the society's reflection but the reflection of the idea the power made of its people. Its allowed the people to believe in spiritual union with the state and its chief
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Bolz, Daphné. "Les arènes totalitaires : fascisme, nazisme et propagande sportive /." Paris : CNRS éd, 2007. http://catalogue.bnf.fr/ark:/12148/cb41184151k.
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Texte remanié de: Thèse de doctorat--Sciences sociales, pratiques sociales et développement--Strasbourg 2, 2005. Titre de soutenance : Pratique et spectacle sportifs en Italie fasciste et en Allemagne nazie : étude à partir des équipements sportifs. Texte remanié de: Thèse de doctorat--Psychologie, Erziehungswissenschaft und Sportwissenschaft--Berlin, 2005.La couv. porte comme sous-titre : "Hitler, Mussolini et les jeux du stade" Thèse soutenue en co-tutelle dans le cadre du Collège doctoral européen des Universités de Strasbourg. Bibliogr. p. 309-335. Notes bibliogr.
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Del, Gaudio Immacolata. "Il cinema arma di propaganda nel primo franchismo (1936-1945). Un confronto con il "modello" italiano." Doctoral thesis, Universita degli studi di Salerno, 2019. http://elea.unisa.it:8080/xmlui/handle/10556/4250.
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2013 - 2014With reference to the studies concerning the relationship between Cinema and History, the research focuses on the development of Spanish Cinematography during the first Francoism, in the period from the beginning of the Civil War to the end of the Second World War. The main purpose is to evaluate if the regime generated by the military coup of 1936 exploited the cinema as a propagandistic instrument to influence public opinion, legitimate its authority, re-define national identity and reclaim an important international rule, as the other authoritarian states of the time. The different forms of the State intervention are analyzed moving from bureaucracy built by the new government through a legal system based on protectionist rules, financial incentives and repressive procedures. Their characteristics and implications are related to the ideology and national/international political context. More specifically, film policy was articulated in an autarchic economic structure, a widespread censure, the violent persecution of dissidents and the diffusion of an idealized representation of Francoism and its origin. The eighteen numbers of the Noticiario español, a newsreel produced between the 1938 and 1941 with foreign support, is the first attempt to justify the Alzamiento and promote nationalist ideas through the cinema abroad. We can see the State intervention also in the cinematographic industry, in the narrative films and in the most popular genres. After the end of Civil War the production is generally heterogeneous, distant from the official rhetoric and realized to entertain, but in the historical films and in the “cine de cruzada” there are all main topoi of nationalist propaganda, at the first influenced above all by Falange Española. The most significant movie of this kind of cinema is Raza, made with an important economic state effort in the 1941 and based on the homonymous literary text written by Francisco Franco. The comparison between the two works shows how they are similar and how strong the mark of the dictator is. Its distribution in the countries of Rome-Berlin Axis and in Latin America, the presentation to Venice Film Festival and the existence of a second version prove the connection between Cinema and diplomatic relationships. Indeed in 1950 the film was modified, the title was changed in Espíritu de una raza, the copies of first movie were destroyed: only after the fall of the Berlin Wall it has been possible to understand the differences between the two works thanks to the discovery of the previous film strip. It is evident that Francoist regime gave a special attention to its international image. The foundation of NO-DO, an official and exclusive newsreel necessarily shown on the Spanish screens from January 1943 to 1975, and voluntarily till 1981, completes a complex and articulated framework. So the Spanish regime can be considered one of the political subject that used cinema as a propagandistic weapon in the twentieth century, in spite of difficulties, delay and failings. In this transnational perspective, the last chapter of this thesis compare the Francoist cinematographic system to the Italian organization. Even if there were different contexts and results, the similar strategies and tools pointed out confirm that the fascist film policy represented a “model” that inspired Spanish government. [edited by Author]
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Mollard, Ingrid. "L’homme volant : l’imaginaire aéronautique dans la culture visuelle européenne de 1903 à 1937." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040054.
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Le monde aéronautique a connu un essor significatif durant les premières décennies du XXe siècle. Propulsé par des avancées technologiques sans précédents, l’aéronautique fut rapidement omniprésente dans tous les secteurs de la vie et de la culture européennes. De la figure du pilote d’aéroplane émergea subtilement, puis avec force, l’image d’un homme robuste et valeureux qui personnifiait son pays. Trouvant un réceptacle favorable dans les héros nés de la Grande Guerre, les gouvernements totalitaires qui émergèrent façonnèrent le pilote comme l’avatar d’un homme idéal. L’imaginaire européen du premier tiers du XXe siècle vit alors naitre « l’homme volant », une facette de « l’homme nouveau », incarnant la grandeur de sa nationAeronautics underwent a significant development during the first decades of the 20th century. Helped by new technological advancements aeronautics quickly became omnipresent in all sectors of the European life and culture. From the figure of the airplane’s pilot emerged subtly, then with strength, the image of a strong and brave man personifying his country. Finding a favorable receptacle in the Great War’s heroes, the totalitarian governments shaped the pilot as the avatar of an ideal man. The European imagination of the first third of the 20th century gave birth to the "flying man", a facet of the “new man”, embodying the greatness of its nation
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Henry, Yann. "Une Espagne borgne : la vision des photographes espagnols et étrangers durant la période médiane du franquisme (1945‐1959)." Thesis, Rennes 2, 2011. http://www.theses.fr/2011REN20059.
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Après la victoire militaire du général Franco, le 1er avril 1939, s’instaure en Espagne une dictature militaire et ecclésiastique. Un « temps du silence » commence pour les vaincus de la guerre. À partir de 1945, cependant, la dictature surnage après la défaite des régimes qui avaient été ses modèles ; elle va traverser plusieurs étapes. L’époque médiane du franquisme (1945-1959) sera celle de la consolidation du régime, qui s’affiche désormais comme nationalcatholique.Dans le domaine photographique, les pratiques professionnelle et amateur vont se heurter à de sévères et nombreux interdits, et l’imagerie nationale sera celle du repli sur soi, du respect des conventions. La photographie espagnole sera adepte du franquisme ou sa vassale obligée ; ses avant-gardes seront balayées, les reportages, muselés, et les mouvements rétrogrades, comme le pictorialisme tardif, magnifiés. Une photographie qui ne donnera qu’une vision borgne de la réalité, tant les sujets traités obéissent à une certaine nostalgie de commande, aux reflets maniérés et académiques d’un passé révolu.Un élan de modernité et des minces filets d’air libre surgiront néanmoins de la province – où naîtront des associations d’amateurs – ainsi que de la vision des quelques photographes étrangers qui parcourent l’Espagne à cette époque. En interrogeant les usages et les pratiques, en scrutant l’esthétisme de ces images, nous tenterons de savoir dans quellemesure, de quelle manière et jusqu’à quel point les photographes espagnols et étrangers ont pu représenter la société espagnole de 1945 à 1959. Les uns, dans un discours de légitimation d’un pouvoir en place ; les autres, dans un esprit moderniste et humanisteAfter General Franco’s victory on April 1st, 1939, a military and ecclesiastical dictatorship takes hold of Spain. A “time of silence” sets in for the vanquished of the war. After 1945, however, the dictatorship survives the demise of the political regimes it had modelled itself on and goes through several stages. Under the median period of Franquism (1945–1959), the regime, in a phase of consolidation, sets itself up as National-Catholic. In the realm of photography, both professional and amateur practices are up against harsh, manifold prohibitions, and the national imagery displays introversion and respect for conventions. Spanish photography proves the follower or mandatory vassal of Franquism; its avant-gardesare annihilated, its reports muzzled, while retrograde movements, such as late Pictorialism, are glorified. It conveys only a one-eyed vision of reality in that its subjects respond to a conventional nostalgia reflecting a bygone past in affected, academic fashion.However, a surge of modernity, as well as thin trickles of fresh air, emerges from the provinces –where amateur associations come into light– and from the vision of some foreign photographers then touring Spain. We will question common practices and scrutinize the esthetics of these images in order to find out how, to what extent and in what way theseSpanish and foreign photographers have managed to picture Spanish society between 1945 and 1959: some with a view to legitimizing the authorities in control, others in a modernist, humanist frame of mind
Books on the topic "Fascist propaganda art"
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Giorgio, Di Genova, Duranti Massimo, Caproni Armani Maria Fede, and Arte contemporanea a Palazzo Mediceo (Seravezza, Italy), eds. "L' uomo della Provvidenza": Iconografia del Duce 1923-1945. Bologna: Edizioni Bora, 1997.
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Vedere il fascismo: Arte e politica nelle esposizioni del regime (1928-1942). Roma: Carocci editore, 2020.
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Raffaello on the road: Rinascimento e propaganda fascista in America (1938-40). Roma: Carocci editore, 2016.
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Italy), Palazzo ducale (Genoa, ed. L'Italia farà da sé: Propaganda, moda e società negli anni dell'autarchia. Genova: Il canneto editore, 2015.
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Acquarelli, Luca. Il fascismo e l'immagine dell'Impero: Retoriche e culture visuali. Roma: Donzelli editore, 2022.
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Attilio, Brilli, Chieli Francesca, and Museo civico di Sansepolcro, eds. Immagini e retorica di regime: Bozzetti originali di propaganda fascista : 1935-1942. Milano: Federico Motta, 2001.
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Attilio, Brilli, and Chieli Francesca, eds. Immagini e retorica di regime: Bozzetti originali di propaganda fascista, 1935- 1942. Milano: F. Motta, 2001.
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Steven, Heller. Iron fists: Branding the 20th-century totalitarian state. London: Phaidon, 2008.
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Anna, Villari, and Musei San Domenico (Forlì, Italy), eds. L'arte della pubblicità: Il manifesto italiano e le avanguardie, 1920-1940. Cinisello Balsamo, Milano: Silvana, 2008.
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Righettoni, Vanessa. Bianco su nero: Iconografia della razza e guerra d'Etiopia. Milano: Fondazione Passaré, 2018.
Find full textBook chapters on the topic "Fascist propaganda art"
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Paul, Catherine E. "Propaganda Art: Can a Poet be a Traitor?" In Fascist Directive, 237–68. Liverpool University Press, 2016. http://dx.doi.org/10.5949/liverpool/9781942954057.003.0007.
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Fortuna, James J. "Designing the Ocean Liners of Fascist Italy and Nazi Germany." In Art and the Sea, 157–78. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781802070200.003.0008.
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James J. Fortuna considers the design, role, and legacy of the often-overlooked ocean liners commissioned by Fascist Italy and Nazi Germany as part of the regime by each country to nationalize their respective tourism industries. The chapter argues that, aside from the more apparent domestic propaganda value of the programmes, these ships were also critical for the regimes to assert themselves in global diplomatic terms. This new transatlantic exchange of tourists and professionals served to demystify Italy and Germany while simultaneously legitimizing their new political systems. Analysis of design plans, interior details, posters and advertising material contributes to the understanding of the role played by these inter-war liners.
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Feu, Montse. "Damned Cartoons! Workers’ Identity and Resistance." In Fighting Fascist Spain, 159–70. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043246.003.0010.
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Varied visual strategies were showcased in España Libre. Some authors ridiculed fascists in gendered terms while others sought compassion for refugees. Comic art grew awareness of the threat of fascism and exposed the state of terror perpetrated by Hitler and Franco. When Sergio Aragonés translated the Spanish underground resistance reports into visual language on the front page of España Libre, he perceptively counteracted the Franco regime’s propaganda. Similarly, Josep Bartolí i Guiu’s illustrations humanized political prisoners for readers. As visual discursive spaces, cartoons endorsed emotions brought forth by belonging to a transnational, antifascist, and proletarian community and asked readers to think collectively about the need for solidarity and protection of the working-class culture both in exile and under fascism. Cartoons delivered España Libre’s message powerfully until the last issue of the periodical, even after many founders had passed away.
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Bernstein, J. M. "Fight Club." In Metacinema, 191–218. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190095345.003.0010.
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At the very beginning of Fight Club, the Platonic critique of art and everyday life is echoed when the nameless protagonist, the Edward Norton character, says that with insomnia “nothing’s real. Everything’s far away. Everything’s a copy of a copy of a copy.” With that clear invitation, this chapter argues that Fincher intends a conversation with the Platonic critique of appearances. Fight clubs—in their retreat from the world and providing for meaningless but intense feeling—are to be understood as allegories of works of art in a consumer society that enable temporary release from it through pain induced enlivenment. Fight Club goes on to track how a political aesthetic can topple into fascist aestheticized politics. Finally, enlisting T. W. Adorno’s “Freudian Theory and the Pattern of Fascist Propaganda,” the chapter argues that the bond between the charismatic Tyler Durden / Brad Pitt character and his fascist followers is deeply akin to that between Donald Trump and his followers.
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Szynka, Peter. "Alinsky revisited: ‘rubbing raw the resentments of the people’." In Populism, Democracy and Community Development, 109–24. Policy Press, 2020. http://dx.doi.org/10.1332/policypress/9781447353836.003.0007.
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This chapter analyses American community organiser Saul D. Alinsky's theoretical background and shows that his understanding of 'resentment' was drawn from the ethics of the Scottish philosopher Adam Smith and the German philosopher Friedrich Nietzsche. 'Rubbing raw the resentments' and 'to fan the sores of discontent' are Alinsky's medical metaphors describing his technique to understand frustration and aggression, to cool down emotions and to transform its energy into common action and political negotiation. He tried to empower the people by turning personal discontents and problems into public issues. What are the lessons to be learned from Alinsky for contemporary community development responses to populism? His analysis and his confrontations with McCarthyism and proto-fascist agitator Father McCoughlin provide examples of ways of meeting the challenges we are facing in Germany today, where new prophets of deceit operating through populist politics again carry out the fine art of propaganda, using the new forms of mass communication and the opportunities of social media. Ultimately, the chapter offers a German perspective to the international discussion on community development, populism, and democratic culture.
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Stone, Marla. "Italian Fascism’s Wartime Enemy and the Politics of Fear." In Facing Fear. Princeton University Press, 2012. http://dx.doi.org/10.23943/princeton/9780691153599.003.0007.
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This chapter examines how the specter of a demonic Communist enemy came to occupy a central place in the Italian Fascist imaginary during the regime's mobilization of the politics of fear. Two critical periods in Italian Fascism's wars are discussed: the military participation on the Nationalist side in the Spanish Civil War (1936–1939), framed by the Fascist regime as a “holy war” against communism, and Nazi Germany's war against the Soviet Union (1941–1943). The chapter shows how Fascist propaganda depicted Italy's wartime enemies in a way that tapped into the deepest fears of many Italians and their feelings of uncertainty about issues such as family, morality, and the Church. Facing waning support and growing resistance, the regime found that terror and anxiety were more effective in forging a connection between it and the population than a defense of Fascism.
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Haslanger, Sally. "Going On, Not in the Same Way." In Conceptual Engineering and Conceptual Ethics, 230–60. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198801856.003.0012.
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This chapter considers, within an externalist semantics, several ways we might understand the project of improving our concepts to promote greater justice. The tools that culture provides us with—such as language, concepts, and inferential patterns—provide frames for coordination and shape our interaction. There are multiple ways these tools can fail us, for example by the limited structure of options they make intelligible. However, we can sometimes reconfigure the resources so that our practical orientations are more responsive to what is good and coordinate in ways that are just. Such reconfiguration often happens in law; it also occurs in social movements, counter-publics, subaltern communities, and in fascist propaganda. Contestation over meaning is not “mere semantics” for—together with political and material change—it can shape our agency and our lives together.
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Grosvenor, Ian, and Siân Roberts. "Art, Anti-fascism, and the Evolution of a “Propaganda of the Imagination”: The Artists International Association 1933–1945." In Exhibiting the Past, 217–38. De Gruyter, 2022. http://dx.doi.org/10.1515/9783110719871-011.
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Haslanger, Sally. "How Not to Change the Subject." In Shifting Concepts, 235–59. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198803331.003.0013.
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This chapter considers several ways, within a Stalnakerian externalist semantics, we might understand the project of improving our concepts to promote greater justice. The tools that culture provides us—language, concepts, inferential patterns—provide frames for coordination and shape our interaction. There are multiple ways these tools can fail us, e.g. by the limited structure of possibilities and options they make intelligible. However, we can sometimes reconfigure the resources so that our practical orientations are more responsive to what is good and coordinate in ways that are just. This chapter argues that, in some cases, the necessary amelioration is epistemic, but in other cases it is properly semantic. Such reconfiguration often happens in law; it also occurs in social movements, counter-publics, subaltern communities, and in fascist propaganda. Contestation over meaning is not ‘mere semantics’ for—together with political and material change—it can shape our agency and our lives together.
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Orsini, Alessandro. "The War against the Far-Left Extremists." In Sacrifice, translated by Sarah Jane Nodes. Cornell University Press, 2017. http://dx.doi.org/10.7591/cornell/9781501709838.003.0004.
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This chapter studies the role of the young anti-Fascists in the construction of the parallel world. The young anarchists and the young W La Rivoluzione members play different roles. The W La Rivoluzione militants avoid any type of behavior that could create problems with the police. They want everyone to see that they oppose Sacrifice in the hope of attracting political support. In addition, the young people of W La Rivoluzione have a strong sense of hierarchies within the party. Everything they do has to be approved first by the older people who are their leaders. The young anarchists are in a different position. They do not belong to any organization and have to finance themselves, but they reject any type of hierarchy and do whatever they want. Moreover, the communist anarchists have a political culture based on common ownership, free trade, and propaganda that requires them to be willing to speak to others.