By Jennifer Lynde Barker

Via a sequence of special movie case histories starting from The nice Dictator to Hiroshima mon amour to The Lives of Others, The Aesthetics of Antifascist movie: Radical Projection explores the genesis and recurrence of antifascist aesthetics because it manifests within the WWII, chilly warfare and Post-Wall ancient periods.

Emerging in the course of a serious second in movie history1930s/1940s Hollywood cinematic antifascism was once consultant of the overseas nature of antifascist alliances, with the amalgam of movie types generated in emigre Hollywood throughout the WWII interval reflecting a discussion among an pressing political dedication to antifascism and an both excessive dedication to aesthetic complexity.

Opposed to a fascist aesthetics in keeping with homogeneity, purity and spectacle, those antifascist motion pictures undertaking an intensive great thing about distortion, heterogeneity, fragmentation and loss. by way of juxtaposing documentation and the modernist strategies of surrealism and expressionism, the filmmakers have been in a position to take place a non-totalizing murals that also had political influence.

Drawing on insights from movie and cultural stories, aesthetic and moral philosophy, and socio-political concept, this ebook argues that the inventive struggles with political dedication and modernist techniques of illustration in the course of the Nineteen Thirties and 40s ended in a particular, radical aesthetic shape that represents another strand of post-modernism.

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Additional info for Aesthetics of Antifascist Film: Radical Projection, The: Radical Projection

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The film-within-a-film she is forced to watch functions as a pedagogical tactic that teaches her, and by extension the audience, a non-passive form of spectatorship. Part II investigates the development of radical projection after WWII, beginning in Chapter Six with Alain Resnais’ art-house fi lm Hiroshima, mon amour (1959). Resnais’ earlier film, Night and Fog (1955) is an important transitional point between Welles’ The Stranger and later Cold War films. A documentary fi lm about the Holocaust, it also incorporates a modernist style that transforms the lost possessions of the Holocaust victims into objects that resonate with a life and meaning of their own.

Combining theories of pervasive fascism with those of the perversion of fascist sexuality (which associated fascism with sadomasochism) it counters with an erotics of antifascism that embraces frequent orgasms and combats repression with openness and purity with free love. The film uniquely expresses the real by focusing on the movements and meanings of the body in a state of orgasm, communicating that which is beyond language and which is not easily assimilated by mere observation. Chapter nine concludes the second section of the book, investigating antifascist radical transmission in the 1980s through the lens of four films: Ken Loach’s Fatherland: Singing the Blues in Red (1986), Florian von Donnersmarck’s The Lives of Others (2006), Jessica Yu’s Protagonist (2007) and Ari Folman’s Waltz with Bashir (2008).

Antifascist resistance functioned on a number of levels, from organized, violent assault, to vehement critique, to those who covertly tried to satirize or mock fascist attitudes and policies. In Nazi Germany, even swing dancing and expressionist art became forms of dissent with serious consequences. Public criticism could result in imprisonment, as with German writer and Nazi Hans Grimm, who was told by Goebbels in 1939 that “writers would be put into concentration camps for four months; a second time over they would not be able to leave” (Kater, “Anti-fascist” 267).

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