Italian humanist photography from fascism to the Cold War / Martina Caruso.

Includes bibliographical references (pages 188-198) and index.

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.