Vanessa Rocco is Professor of Humanities & Fine Arts at Southern New Hampshire University, USA and former Associate Curator at the International Center of Photography (ICP), USA. She is co-editor of The New Woman International: Representations in Photography and Film from the 1870s to the1960s (2011). Rocco organized numerous exhibitions and publications at the ICP, including Louise Brooks and the 'New Woman' in Weimar Cinema (2007), Modernist Photography: Selections from the Daniel Cowin Collection (2005), and Expanding Vision: Moholy-Nagy's Experiments of the 1920s (2004). Her reviews and articles about photography and exhibitions have also appeared in numerous prestigious journals.

A disturbing look into how German and Italian dictatorships of the 1930s utilized photography, film, and exhibitions—and how modern rallies aren’t much different.

• Table of ContentsIntroduction: Designing, Displaying, Facilitating FascismChapter 1: Last Stop Before Photofascism: Activist Photo Spaces and the Exhibition of the Building Workers Unions, Berlin 1931Chapter 2: ‘Acting on the Visitor’s Mind’: Exhibition of the Fascist Revolution, Rome 1932Chapter 3: Nazis Ascendant: The Camera, Berlin 1933Chapter 4: “A Fundamental Irony”: The Venice International Film Festivals 1932-36Chapter 5: Both/And: German and Italian Photography Exhibitions in 1936 and 1937Epilogue: Total War, 1938-1942, and Visual Culture in the 21st centuryBibliographyIndex