By Aristotle Kallis
Fascist Ideology is a comparative examine of the expansionist international guidelines of fascist Italy and Nazi Germany from 1922-1945. Fascist Ideology presents a comparative research of fascist expansionism by way of concentrating on the shut family members among ideology and motion below Mussolini and Hitler. With an summary of the ideological motivations in the back of fascist expansionism and their effect on fascist rules, this publication explores the 2 major concerns that have ruled the historiographical debates at the nature of fascist expansionism: even if Italy's and Germany's specific expansionist tendancies may be attributed to a suite of regularly occurring fascist values, or have been formed by way of the longer term, uniquely nationwide targets and advancements in view that unification; no matter if the pursuit of enlargement used to be opportunistic or a grand layout in every one case.
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Extra resources for Fascist Ideology: Territory and Expansionism in Italy and Germany, 1922-1945
Intended to be a picaresque tale of Fascist enlightenment, Ragazzo recounts the story of a working-class orphan boy who eventually learns the error of his criminal ways through conversion to the Fascist cause. In attempting to make the story realistic, Ivo Perilli opted to shoot much of the ¤lm on location in Rome, particularly in the poorer sections and among the delinquents, aspects of daily life that the regime said no longer existed. Furthermore, the fact that a model Fascist could arise from a criminal gang of hooligans was certain to displease Fascist of¤cials.
I chose to bracket the word “fascinating” with quotation marks because in the world of scholarship about Fascism, it has come to symbolize the appeal both Italian and German fascism held for its contemporaries as well as the attraction it wields now for those engaged in academic research. The term originates in Susan Sontag’s now canonical essay “Fascinating Fascism,” anthologized in Movies and Methods (Berkeley: University of California Press, 1976), I: 31–43, and was used as a title for the symposium “Fascinating Fascism,” held at Stanford University in October 1993.
49 In order to avoid the formulaic Hollywood-style comedies and melodramas typical of the era, these directors forged their own artistic path through high stylization, attention to detail, and composition. Their focus was on the surface and decoration, including, in the case of Via delle cinque lune, with its elaborate construction of the arched stairwell from which Ines commits suicide, magni¤cent production design. The ef¤cacious lighting constantly ¤lls Checco and Ines’s scenes together in dark shadows while angelic close-ups in soft focus dominate Ines’s images.