Antifascist Photography under Fascism
Forging a "New" Peasant at the Istituto LUCE and Other Fascist organizations
Rural kitsch, fashion, and the Nazi-Fascist alliance
The Fascist avant-garde and the international photographic context
Critical Fascists and the concept of the "Primitive"
Leo Longanesi, D'Annunziano
Non-Fascist cultures and "Primitive" rituals
Conclusion
Photography, Power, and Humiliation in the Second World War
The erotics of the Uomo Nuovo
The absent war in vernacular photography
Censorship and the Ethiopian War
The intellectual war correspondent
Occhio Quadrato and 'Let Us Now Praise Famous Men'
Allies, Partisans, and cameras
Constructing and reconstructing the Resistance
Conclusion
Christ Stopped at Eboli: An Anthropology of the South
The Madonna and Roosevelt
The Politics of Miseria and the Communist Debate
Sex, Magic, and Anthropology
Photographers Marginalized
For a Mediterranean Light
Whose South? Conclusion
Humanist Photography and the "Catholic" 'Family of Man'
Searching for an "Italian Photography" from 'The Family of Man' to What is Man?
The uncertain internationalization of Italian Humanist Photography
"A bit sweet, a bit ironic, a bit pathetic": the Italian gaze in Pannunzio's 'Il Mondo'
Can Catholic photographers also be humanist?
Deliver us from evil: Pathos in the work of Mario Giacomelli
'Gli ultimi' in the suburbs of Milan
Conclusion
FINE ("THE END"): La Dolce Vita and the Burst into Technicolor
Epigraph.