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Modernism both influenced and was fascinated by the rhetorical and aesthetic manifestations of fascism. In examining how four artists and writers represented fascist leaders, Annalisa Zox-Weaver aims to achieve a more complex understanding of the modernist political imagination. She examines how photographer Lee Miller, filmmaker Leni Riefenstahl, writer Gertrude Stein and journalist Janet Flanner interpret, dramatize and exploit Hitler, G�ring and P�tain. Within their own artistic medium, each of these modernists explore confrontations between private and public identity, and historical narrative and the construction of myth. This study makes use of extensive archival material, such as letters, photographs, journals, unpublished manuscripts and ephemera and includes ten illustrations. This interdisciplinary perspective opens up wider discussions of the relationship between artists and dictators, modernism and fascism, and authority and representation.
- Sales Rank: #4318204 in Books
- Published on: 2011-10-31
- Original language: English
- Number of items: 1
- Dimensions: 8.98" h x .63" w x 5.98" l, 1.10 pounds
- Binding: Hardcover
- 246 pages
About the Author
Annalisa Zox-Weaver is Associate Editor of Women's Studies: An Interdisciplinary Journal.
Most helpful customer reviews
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The Lee Miller section is good, but not very convincing
By Stephen Schicker
It is an interesting analysis of Riefenstahl's Gertrude Stein's, Lee Miller, and Janet Flanner's fascination with Hitler, and how they wove him into the structure and narratives of their own lives. Gertrude's Stein's relationship was somewhat ambivalent, even though she did promote him for the 1934 Nobel Peace Prize. As a Jew it didn't make very much sense but then most of her writing doesn't either. She's an esthete whose politics were very much shaded to the right, thanks to her close relationship with Bernard Fay, supporter of Petain and anti-Semite. She survived the War thanks to Fay and her attempts to get her translations of Petain's speeches published by Cerf in America. The Lee Miller section is good, but not very convincing. The Riefenstahl section was a rehash of the usual leftist line(ala Susan Sontag) and a lot of nonsense about cinematic semiology.. She has a very poor writing style, drenched as it is in feminist jargon. Still, I would say that it is an intelligent book and worth looking at. after you've read Pages, Rhiel's and O'Sickey's collection of essays in Riefenstahl Screened. Also read Barbara Will's book, Unlikely Collaborator's, which is a more in depth analysis of Stein's relationship to Bernard Fay and her support of Fascism. To be fair, the book says at the outset that it is only focusing on specific terms of the relationship between dictator and artist, so I can't fault her for paring down her information. My problem with the book is that I find that most feminist prose to be off-putting, though they do have a perspective worth reading. Interesting ,though, how she doesn't spend much time discussing Lee Miller's relationship to her father, who took countless nude photos of her form childhood on. He seemed to me to be the ultimate patriarchal tyrant.
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