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Photofascism: Photography, Film, and Exhibition Culture in 1930s Germany and Italy
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Photofascism: Photography, Film, and Exhibition Culture in 1930s Germany and Italy (Hardback)

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Photography + 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, will focus 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. In sum, I will demonstrate 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.

Art, Fashion & PhotographyArt, Fashion & PhotographyPhotography & photographsPhotographs: collectionsPhotographic reportageHistory & PoliticsPolitics & governmentPolitical ideologiesFascism & Nazism Publisher: Bloomsbury Publishing PLC Publication Date: 17/09/2020 ISBN-13: 9781501347061  Details: Type: Hardback Format: Books
Availability: Pre-order for despatch on publication. Pre-Order

Vanessa Rocco is Associate Professor of Humanities and Fine Arts at SNHU, and former Associate Curator at the International Center of Photography (ICP) in New York. She is co-editor of The New Woman International: Representations in Photography and Film from the 1870s to the 1960s (2011.) Rocco organized numerous exhibitions and publications at the ICP, including Louise Brooks and the 'New Woman' in Weimar Cinema (2007), Modernist Photography: Selections from the Daniel Cowin Collection (2005), and Expanding Vision: Moholy-Nagy's Experiments of the 1920s (2004).

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