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|a Photographing Mussolini
|b the making of a political icon
|c Alessandra Antola Swan
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|c [2020]
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|a 1 Online-Ressource (xx, 393 Seiten)
|b Illustrationen
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|a Intro -- Acknowledgements -- Contents -- About the Author -- List of Figures -- 1 Introduction -- Part I Setting the Scene -- 2 The Photograph as a Source and Agent of History -- Debating Mussolini's Image: Viewing, Reviewing and Documenting -- From Illustrations to Objects of Fabrication -- Fascist Photography -- Intentionality -- Physiognomy -- Sound and Image -- Gender -- International Influences -- The Research Process -- 3 Images in Politics Before Mussolini -- The Savoys -- Garibaldi -- D'Annunzio -- Performance and Politics -- Part II Production -- 4 The Image Makers of the Duce -- On the Problem of Assigning Agency -- His Many Photographers -- 5 The Corporate Image: Istituto Luce -- L.U.C.E -- Luce Style -- Luce Organisation -- Luce Abroad -- Luce and the Press -- Luce Equipment -- Luce 'Favourite': Spartaco Appetiti -- 6 The Press-Image: Photojournalists and Agencies -- Photojournalism -- The Italian Context -- Photojournalists -- Photo Agencies -- Adolfo Porry Pastorel (VEDO) -- Vincenzo Carrese (Publifoto) -- Tino Petrelli -- Censorship -- 7 The Aesthetic Image: Ghitta Carell -- The Studio Photographer -- Ghitta Carell -- Man of Providence -- Condottiero -- Modern Allure -- Summary -- Part III Audiencing -- 8 The Visual Presence of the Duce -- Images as Objects -- Biographies -- Type 'Alone' -- Type 'Man of Action' -- Type 'Evoking' -- Type 'Politician' -- Type 'with People' -- Type 'Origins' -- Type 'Soldier' and 'Oceanic Crowd' -- Type 'with King' -- Book Covers, Posters -- Daily Papers: Corriere Della Sera -- Periodicals: L'Illustrazione Italiana, La Domenica Del Corriere, Tempo -- La Domenica Del Corriere -- 9 Mussolini's Early Photographs -- Visibility in Context -- Press, Power and Politics -- Mussolini at 14 -- On the Frontline -- Visual Modes of Communication: The Press, the Piazza, the Trench -- The Press -- The 'Piazza'.
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