In this study of the art of Stalinist Russia, Nazi Germany and Fascist Italy, the author describes the way the avant-garde and modernistic movements of the early 20th century, which sought to create new artistic forms of mass appeal, were quickly expropriated by dictatorial regimes.
In the Soviet Union, and later in Maoist China, theories of mass artistic appeal were used to promote the Revolution both at home and abroad. In Nazi Germany and Fascist Italy they asserted the putative grandeur of the epoch. All too often, art that served the Revolution became "total realism," and always it became a slave to the state and the cult of personality, and ultimately one more weapon in the arsenal of oppression. Igor Golomstock gives a detailed appraisal of the forms that define totalitarian art and illustrates his text with more than two hundred examples of its paintings, posters, sculpture, and architecture, and includes a powerful comparative visual essay which demonstrates the eerie similarity of the official art of these very different regimes.
This work considers aspects of the art and architecture of the Soviet Union during the turbulent period of 1917 to 1922, covering a broad range of art, some modernist, some anti-modernist, but all to some degree guided by (and sometimes coerced by) the apparatus of the over-arching state.
The political elite of Nazi Germany perceived itself as a cultural elite as well. In Art as Politics in the Third Reich, Jonathan Petropoulos explores the elite's cultural aspirations by examining both the formulation of a national aesthetic policy
Provides an innovative reinterpretation of the cultural revolution through the medium of the poster -- a major component of popular print culture in China.
Sports played a vital role in the social and cultural life of the former Soviet Union. The Soviet state sponsored countless programs to promote sporting activities, even constructing a new term, fizkultura, to describe sports culture. With Sport in the USSR, Mike O’Mahony asserts that the popular image of fizkultura was as dependent on its presentation as it was on its actual practice. Images of vigorous Soviet sportsmen and women were constantly evoked in literature, film, and folk songs; they frequently appeared on the badges and medals of various work associations and even on plates and teapots. Several major artists, in fact, made their careers out of vivid representations of sports. O’Mahony further examines the role that fizkultura played in the formulation of the novyi chelovek, or Soviet New Person, arguing that these images of the sporting life not only promoted the existence of this national being but also articulated the process of transformation that could bring him or her into existence. Fizkultura, O’Mahony claims,became a civic duty alongside state labor drives and military service. Sport in the USSR is a fascinating addition to current debates in the fields of sociology, popular culture, and Russian history.
Between 1917 to 1975 Germany, Italy, Portugal, the Soviet Union, and Spain shifted from liberal parliamentary democracies to authoritarian and totalitarian dictatorships, seeking total control, mass consensus, and the constitution of a 'new man/woman' as the foundation of a modern collective social identity. As they did so these regimes uniformly adopted what we would call a modernist aesthetic – huge-scale experiments in modernism were funded and supported by fascist and totalitarian dictators. Famous examples include Mussolini's New Rome at EUR, or the Stalinist apartment blocks built in urban Russia. Focusing largely on Mussolini's Italy, Francesca Billiani argues that modernity was intertwined irrecoverably with fascism – that too often modernist buildings, art and writings are seen as a purely cultural output, when in fact the principles of modernist aesthetics constitute and are constituted by the principles of fascism. The obsession with the creation of the 'new man' in art and in reality shows this synergy at work. This book is a key contribution to the field of twentieth century history – particularly in the study of fascism, while also appealing to students of art history and philosophy.
The Cinema of Eisenstein is David Bordwell's comprehensive analysis of the films of Sergei Eisenstein, arguably the key figure in the entire history of film. The director of such classics as Potemkin, Ivan the Terrible, October, Strike, and Alexander Nevsky, Eisenstein theorized montage, presented Soviet realism to the world, and mastered the concept of film epic. Comprehensive, authoritative, and illustrated throughout, this classic work deserves to be on the shelf of every serious student of cinema.
The twelve years of the Third Reich casts a dark shadow over history. Fierce debates still rage over many of the hows, whys and wherefores of this perplexing period. Leading expert on German history, Martin Kitchen, provides a concise, accessible and provocative account of Nazi Germany. It takes into account the political, social, economic and cultural ramifications, and sets it within the context of the times, while pointing out those areas that still defy our understanding. This lively account addresses major issues such as the reasons for Hitler’s extraordinary popularity, his hold over the German people even when all seemed lost, the role of ideology, the cooption of the elites, and the descent into war for race and space, culminating in the horrors of the holocaust.
