Producing the ideal fascist landscape: nature, materiality and the cinematic representation of land reclamation in the Pontine Marshes

Caprotti, Federico; Kaïka, Maria

doi:10.1080/14649360802292447

Cited by 37 publications

(18 citation statements)

References 42 publications

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“…The interdependencies of the embodied eye, the visual and material economies are considered too by Ash (2010), Hawkins ( 2010), Horton (2010), Capriotti and Kaika (2008), Rantisi and Lisle (2010), Fish(2007), Pratt(2007) and Wilson (2011). The cultural practices of the visual are squarely situated within the visceral realm by these authors.…”

Section: Visuality / Materialitymentioning

confidence: 99%

The geographies of cultural geography III

Tolia‐Kelly

2012

Progress in Human Geography

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Section: Visuality / Materialitymentioning

confidence: 99%

The geographies of cultural geography III

Tolia‐Kelly

2012

Progress in Human Geography

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“…Agricultural spectacle can be created at a wide range of scales. Benito Mussolini created an enormous spectacle when he drained the Pontine Marshes south of Rome in the mid-1930s to construct an idealized fascist agricultural landscape (Caprotti and Kaïka 2008). As part of Italy's "Battle for Wheat" after the League of Nations imposed import sanctions, the precise wheat fields and planned towns served as a form of landesque propaganda capital for newsreels and posters.…”

Section: Introductionmentioning

confidence: 99%

Agriculture as spectacle

Stone¹

2018

Journal of Political Ecology

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In the influential "performance" model of agriculture, the appearance of the farm is the unintentional result of improvisational decision-making rather than the intentional result of design. However in many ways agriculture is explicitly intended to produce an appearance, often aimed at a specific audience. This phenomenon, termed agricultural spectacle, comes in many forms and serves varied aims. This article offers a theoretical framework beginning with a consideration of how agricultural spectacle differs from other classes of spectacle and from generalized societal spectacle as theorized by Debord. Most important in this regard is that agricultural spectacle generally functions as a form of synecdoche as it presents a temporal or spatial part as a representation of the whole agricultural operation. It also often relies on "captioning" to render ambiguous sights striking to viewers. But agricultural spectacle is highly diverse, as shown by exploring three axes of variation. The first axis concerns the extent to which agricultural activities are adjusted for their impact on viewers, as opposed to being conducted purely for utility and rendered spectacular after the fact. The second compares the intent of the agricultural spectacle. The last axis distinguishes scale, from plant part to field to farm to landscape.Key Words: agriculture, spectacle, indigenous knowledge, propaganda, performance

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“…Geographers have explored fascism's colonial project in Libya (Atkinson 1999), the construction and use of geographical knowledge and geopolitics as a tool for ordering colonial space (Atkinson 2000(Atkinson , 2003(Atkinson , 2008, and the mediation of often contrasting political meanings in urban spaces in Rome and New Towns (Atkinson and Cosgrove 1998;Caprotti 2007Caprotti , 2008aCaprotti , 2009Caprotti and Kaika 2008). The connections between ideology and cultures of colonialism (Ben-Ghiat 2003;BenGhiat and Fuller 2008) and the urban dimensions and expressions of fascist imperialism (Fuller 2007) are also topics of current interest in Italian studies.…”

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confidence: 99%

Visuality, Hybridity, and Colonialism: Imagining Ethiopia Through Colonial Aviation, 1935–1940

Caprotti

2011

Annals of the Association of American Geographers

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This article examines the discursive construction of visual imaginations of Italian East Africa through visual and textual materials associated with fascist colonial civil aviation from 1934 through 1940. Analysis of materials produced by Ala Littoria, the fascist regime's main airline, reveals discursive strands and themes that contributed to the deeply modern depiction of Ethiopia, Italian Somaliland, and Eritrea (the constituent colonies within Italian East Africa) as "natural" landscapes that could be accessed, consumed, and dominated through the air, and in particular through aviation technology and the institution of a colonial civil aviation network in East Africa. Aviation was as a hybrid technology that contributed to the discursive, and therefore material, imaginative construction of Italian East Africa through aviation's material and technological basis as well as its visual representation.

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Producing the ideal fascist landscape: nature, materiality and the cinematic representation of land reclamation in the Pontine Marshes

Abstract: Using previously unpublished material from the LUCE archive and the State Archives in

Cited by 37 publications

References 42 publications

The geographies of cultural geography III

The geographies of cultural geography III

Agriculture as spectacle

Visuality, Hybridity, and Colonialism: Imagining Ethiopia Through Colonial Aviation, 1935–1940

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