Fascist Aesthetics and Culture

Question 1

Military Rituals

Answer 1

Use of processions, marches, mass demonstration popular during interwar years in general. Czechoslovakian ‘slets’ inspired France. Pop front held ‘peoples olympiad’ in Spain 1936 as protest to Berlin but cancelled by civil war. Left-wing rallies in Germany during 1930s

Used by fascists with different message/intention. 1934 Nuremberg rally celebrated military, youth, Hitler, the state instead of unity/peace etc.

Question 2

Youth Groups

Answer 2

Youth indoctrination central to fascism, existed across Europe but more top-down than ever (Boy scouts banned in Germany 1935)

Hitler youth imitated military rank/style with marches, uniform, and activities (shooting, physical fitness, tactics). Doctrine established the importance of classlessness, soldiering and potentially dying for the state.

ONB/GIL (changed 1937) similarly emphasised military/paramilitary character.

Gender split emphasised dif gender roles in Nazism (though this was common)

Question 3

Symbols/Attire

Answer 3

Uniform an important part of paramilitary function. Called ‘blackshirts’ in Italy or ‘brownshirts’ (SA) in Germany. Emphasised importance of warfare/veteran communities. Falange ‘blueshirts’ influenced by Italy.

Use of eagles by both Nazis/Fascists in Italy to symbolise strength. Use of yoke/arrows by falange + fasces by Mussolini as direct references to military strength/history.

Question 4

Architecture/Grandure

Answer 4

Italian fascism put emphasis on architecture between modern and classical such as Palazzo della Civiltà Italiana. Plans for New rome and the holding of a world fair that would celebrate 20th anniversary of fascism.

Nazi architecture similar in style/emphasis to Italian. Reichstag building and olympic stadium examples. Less emphasis on classical nature though arguable influence is still there. Architecture served to emphasise parades, such as with the Nazi party rally grounds (or Luitpoldarena) in Nuremberg.

French architect Thierry Malnera’s use of avant-guarde art>classical style.

Question 5

Origins

Answer 5

Futurists, an art movement that supported Mussolini, held war as highly aesthetic. Tried to blend classical with modern.

Walter Benjamin on fascism as the ‘aestheticising of politics’ with the end result of being devoid of all meaning.

Historian Mosse on the idea of a common fascist aesthetic/culture.