TOTalitarian ARTs


Book Description

This collection represents a tool to broaden and deepen our geographical, institutional, and historical understanding of the term totalitarianism. Is totalitarianism only found in ‘other’ societies? How come, then, it emerged historically in ‘ours’ first? How come it developed in so many countries either in Western Europe (Italy, Germany, Portugal, and Spain) or under implicit Western forms of coercion (Latin America)? How do relations between individual(s), mass and the visual arts relate to totalitarian trends? These are among the questions this book asks about totalitarianism. The volume does not impose a ‘one size fits all’ interpretation, but opens new spaces for debate on the connection between the visual arts and mass-culture in totalitarian societies. From the Mediterranean to Scandinavia, from Western Europe to Latin America, from the fascism of the early 20th century to contemporary forms of totalitarian control, and from cinema to architecture, the chapters included in TotArt bring expertise, historical sensibility and political awareness to bear on this varied range of phenomena. This collection offers international contributions on visual, performing and plastic arts. The chapters range from examination of comics to study of YouTube videos and American newsreels, from Italian, Spanish, Portuguese, and Uruguayan cinemas to more contemporary American films and TV series, from painters and sculptors to the study of urban spaces.




Totalitarian Art and Modernity


Book Description

In spite of the steadily expanding concept of art in the Western world, art made in twentieth-century totalitarian regimes û notably Nazi Germany, fascist Italy and the communist East Bloc countries û is still to a surprising degree excluded from main stream art history and the exhibits of art museums. In contrast to earlier art made to promote princely or ecclesiastical power, this kind of visual culture seems to somehow not fulfill the category of 'true' art, instead being marginalised as propaganda for politically suspect regimes. Totalitarian Art and Modernity wants to modify this displacement, comparing totalitarian art with modernist and avant-garde movements; confronting their cultural and political embeddings; anti writing forth their common genealogies. Its eleven articles include topics as varied as: the concept of totalitarianism and totalitarian art, totalitarian exhibitions, monuments and architecture, forerunners of totalitarian art in romanticism and heroic realism, and diverse receptions of totalitarian art In democratic cultures.




Totalitarian Art in the Soviet Union, the Third Reich, Fascist Italy and the People's Republic of China


Book Description

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.




Totalitarianism


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Totalitarian Art


Book Description

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.




The Total Art of Stalinism


Book Description

From the ruins of communism, Boris Groys emerges to provoke our interest in the aesthetic goals pursued with such catastrophic consequences by its founders. Interpreting totalitarian art and literature in the context of cultural history, this brilliant essay likens totalitarian aims to the modernists’ goal of producing world-transformative art. In this new edition, Groys revisits the debate that the book has stimulated since its first publication.




Totalitarian Art


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Totalitarianism


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Concentrationary Memories


Book Description

In 1945, French political prisoners returning from the concentration camps of Germany coined the phrase 'the concentrationary universe' to describe the camps as a terrible political experiment in the destruction of the human. This book shows how the unacknowledged legacy of a totalitarian mentality has seeped into the deepest recesses of everyday popular culture. It asks if the concentrationary now infests our cultural imaginary, normalizing what was once considered horrific and exceptional by transforming into entertainment violations of human life.




The Proto-Totalitarian State


Book Description

Totalitarian rule is commonly thought to derive from spe- cific ideologies that justify the complete control by the state of social, cultural, and political institutions. The major goal of this volume is to demonstrate that in some cases brutal forms of state control have been the only way to maintain basic social order. Dmitry Shlapentokh seeks to show that totalitarian or semi-totalitarian regimes have their roots in a fear of disorder that may overtake both rulers and the society at large. Although ideology has played an important role in many totalitarian regimes, it has not always been the chief reason for repression. In many cases, the desire to establish order led to internal terror and intrusiveness in all aspects of human life. Shlapentokh seeks the roots of this phenomenon in France in the fourteenth to sixteenth centuries, when asocial processes in the wake of the Hundred Years War led to the emergence of a brutal absolutist state whose features and policies bore a striking resemblance to totalitarian regimes in the Soviet Union and China. State punishment and control allowed for relentless drive to "normalize" society with the state actively engaged in the regulation of social life. There were attempts to regulate the economy and instances of social engineering, attempts to populate emerging colonial empires with exiles and produce "new men and women" through reeducation. This increased harshness in dealing with the populace, in fact, the emergence of a new sort of bondage, was combined with a twisted form of humanitarianism and the creation of a rudimentary safety net. Some of these elements can be found in the democratic societies of the modern West, although in their aggregation these attributes are essential features of totalitarian regimes of the modem era.