Italian humanist photography from fascism to the Cold War

Description

Title Page; Copyright Page; Contents; List of Illustrations; Acknowledments; Introduction: Situating Italian Humanist Photography; What is humanism?; Chapter 1 Antifascist Photography under Fascism; Forging a "New" Peasant at the Istituto LUCE and Other Fascist organizations; Rural kitsch, fashion, and the Nazi-Fascist alliance; The Fascist avant-garde and the international photographic context; Critical Fascists and the concept of the "Primitive"; Leo Longanesi, D'Annunziano; Non-Fascist cultures and "Primitive" rituals; Conclusion Title Page Copyright Page Contents List of Illustrations Acknowledments Introduction: Situating Italian Humanist Photography What is humanism? Chapter 1 Antifascist Photography under Fascism Forging a "New" Peasant at the Istituto LUCE and Other Fascist organizations Rural kitsch, fashion, and the Nazi-Fascist alliance The Fascist avant-garde and the international photographic context Critical Fascists and the concept of the "Primitive" Leo Longanesi, D'Annunziano Non-Fascist cultures and "Primitive" rituals Conclusion Chapter 2 Photography, Power, and Humiliation in the Second World WarThe erotics of the Uomo Nuovo The absent war in vernacular photography Censorship and the Ethiopian War The intellectual war correspondent Occhio Quadrato and Let Us Now Praise Famous Men Allies, Partisans, and cameras Constructing and reconstructing the Resistance Conclusion Chapter 3 Christ Stopped at Eboli: An Anthropology of the South The Madonna and Roosevelt The Politics of Miseria and the Communist Debate Sex, Magic, and Anthropology Photographers Marginalized For a Mediterranean Light Whose South? ConclusionChapter 4 Humanist Photography and The "Catholic" Family of Man Searching for an "Italian Photography" from The Family of Man to What is Man? The uncertain internationalization of Italian Humanist Photography "A bit sweet, a bit ironic, a bit pathetic": the Italian gaze in pannunzio's Il Mondo Can Catholic photographers also be humanist? Deliver us from evil: Pathos in the work of Mario Giacomelli Gli ultimi in the suburbs of Milan Conclusion FINE ("THE END"): La Dolce Vita and the Burst into Technicolor Epigraph Introduction Chapter 1 Chapter 2 Chapter 3 Chapter 4