Saluting gestures in Roman art and literature -- Jacques-Louis David's Oath of the Horatii -- Raised-arm salutes in the United States before fascism : from the pledge of allegiance to Ben-Hur on stage -- Early cinema : American and European epics -- Cabiria : the intersection of cinema and politics -- Gabriele d'Annunzio and Cabiria -- Fiume : the Roman salute becomes a political symbol -- From D'Annunzio to Mussolini -- Nazi cinema and its impact on Hollywood's Roman epics : from Leni Riefenstahl to Quo vadis -- Visual legacies : antiquity on the screen from Quo vadis to Rome -- Cinema : from Salome to Alexander -- Television : from Star trek to Rome -- Conclusion.

PULITZER PRIZE WINNER • NAMED ONE OF THE BEST BOOKS OF THE YEAR BY SAN FRANCISCO CHRONICLE From National Book Award finalist David I. Kertzer comes the gripping story of Pope Pius XI’s secret relations with Italian dictator Benito Mussolini. This groundbreaking work, based on seven years of research in the Vatican and Fascist archives, including reports from Mussolini’s spies inside the highest levels of the Church, will forever change our understanding of the Vatican’s role in the rise of Fascism in Europe. The Pope and Mussolini tells the story of two men who came to power in 1922, and together changed the course of twentieth-century history. In most respects, they could not have been more different. One was scholarly and devout, the other thuggish and profane. Yet Pius XI and “Il Duce” had many things in common. They shared a distrust of democracy and a visceral hatred of Communism. Both were prone to sudden fits of temper and were fiercely protective of the prerogatives of their office. (“We have many interests to protect,” the Pope declared, soon after Mussolini seized control of the government in 1922.) Each relied on the other to consolidate his power and achieve his political goals. In a challenge to the conventional history of this period, in which a heroic Church does battle with the Fascist regime, Kertzer shows how Pius XI played a crucial role in making Mussolini’s dictatorship possible and keeping him in power. In exchange for Vatican support, Mussolini restored many of the privileges the Church had lost and gave in to the pope’s demands that the police enforce Catholic morality. Yet in the last years of his life—as the Italian dictator grew ever closer to Hitler—the pontiff’s faith in this treacherous bargain started to waver. With his health failing, he began to lash out at the Duce and threatened to denounce Mussolini’s anti-Semitic racial laws before it was too late. Horrified by the threat to the Church-Fascist alliance, the Vatican’s inner circle, including the future Pope Pius XII, struggled to restrain the headstrong pope from destroying a partnership that had served both the Church and the dictator for many years. The Pope and Mussolini brims with memorable portraits of the men who helped enable the reign of Fascism in Italy: Father Pietro Tacchi Venturi, Pius’s personal emissary to the dictator, a wily anti-Semite known as Mussolini’s Rasputin; Victor Emmanuel III, the king of Italy, an object of widespread derision who lacked the stature—literally and figuratively—to stand up to the domineering Duce; and Cardinal Secretary of State Eugenio Pacelli, whose political skills and ambition made him Mussolini’s most powerful ally inside the Vatican, and positioned him to succeed the pontiff as the controversial Pius XII, whose actions during World War II would be subject for debate for decades to come. With the recent opening of the Vatican archives covering Pius XI’s papacy, the full story of the Pope’s complex relationship with his Fascist partner can finally be told. Vivid, dramatic, with surprises at every turn, The Pope and Mussolini is history writ large and with the lightning hand of truth.

This richly textured cultural history of Italian fascism traces the narrative path that accompanied the making of the regime and the construction of Mussolini's power. Simonetta Falasca-Zamponi reads fascist myths, rituals, images, and speeches as texts that tell the story of fascism. Linking Mussolini's elaboration of a new ruling style to the shaping of the regime's identity, she finds that in searching for symbolic means and forms that would represent its political novelty, fascism in fact brought itself into being, creating its own power and history. Falasca-Zamponi argues that an aesthetically founded notion of politics guided fascist power's historical unfolding and determined the fascist regime's violent understanding of social relations, its desensitized and dehumanized claims to creation, its privileging of form over ethical norms, and ultimately its truly totalitarian nature.

A fresh treatment of Fascist Italy and Nazi Germany, revealing the close ties between Mussolini and Hitler and their regimes ​From 1934 until 1944 Mussolini met Hitler numerous times, and the two developed a relationship that deeply affected both countries. While Germany is generally regarded as the senior power, Christian Goeschel demonstrates just how much history has underrepresented Mussolini's influence on his German ally. In this highly readable book, Goeschel, a scholar of twentieth-century Germany and Italy, revisits all of Mussolini and Hitler's key meetings and asks how these meetings constructed a powerful image of a strong Fascist-Nazi relationship that still resonates with the general public. His portrait of Mussolini draws on sources ranging beyond political history to reveal a leader who, at times, shaped Hitler's decisions and was not the gullible buffoon he's often portrayed as. The first comprehensive study of the Mussolini-Hitler relationship, this book is a must-read for scholars and anyone interested in the history of European fascism, World War II, or political leadership.

Rome's Vengeance In the year A.D. 9, three Roman Legions under Quintilius Varus were betrayed by the Germanic war chief, Arminius, and destroyed in the forest known as Teutoburger Wald. Six years later Rome is finally ready to unleash Her vengeance on the barbarians. The Emperor Tiberius has sent his adopted son, Germanicus Caesar, into Germania with an army of forty-thousand legionaries. The come not on a mission of conquest, but one of annihilation. With them is a young legionary named Artorius. For him the war is a personal vendetta; a chance to avenge his brother, who was killed in Teutoburger Wald. In Germania Arminius knows the Romans are coming. He realizes that the only way to fight the legions is through deceit, cunning, and plenty of well-placed brute force. In truth he is leery of Germanicus, knowing that he was trained to be a master of war by the Emperor himself. The entire Roman Empire held its collective breath as Germanicus and Arminius faced each other in what would become the most brutal and savage campaign the world had seen in a generation; a campaign that could only end in a holocaust of fire and blood.

In her examination of the culture of Italian fascism, Mabel Berezin focuses on how Mussolini's regime consciously constructed a nonliberal public sphere to support its political aims. Fascism stresses form over content, she believes, and the regime tried to build its political support through the careful construction and manipulation of public spectacles or rituals such as parades, commemoration ceremonies, and holiday festivities. The fascists believed they could rely on the motivating power of spectacle, and experiential symbols. In contrast with the liberal democratic notion of separable public and private selves, Italian fascism attempted to merge the public and private selves in political spectacles, creating communities of feeling in public piazzas. Such communities were only temporary, Berezin explains, and fascist identity was only formed to the extent that it could be articulated in a language of pre-existing cultural identities. In the Italian case, those identities meant the popular culture of Roman Catholicism and the cult of motherhood. Berezin hypothesizes that at particular historical moments certain social groups which perceive the division of public and private self as untenable on cultural grounds will gain political ascendance. Her hypothesis opens a new perspective on how fascism works.

What is fascism? Is it revolutionary? Or is it reactionary? Can it be both? Fascism is notoriously hard to define. How do we make sense of an ideology that appeals to streetfighters and intellectuals alike? That is overtly macho in style, yet attracts many women? That calls for a return to tradition while maintaining a fascination with technology? And that preaches violence in the name of an ordered society? In the new edition of this Very Short Introduction, Kevin Passmore brilliantly unravels the paradoxes of one of the most important phenomena in the modern world—tracing its origins in the intellectual, political, and social crises of the late nineteenth century, the rise of fascism following World War I, including fascist regimes in Italy and Germany, and the fortunes of 'failed' fascist movements in Eastern Europe, Spain, and the Americas. He also considers fascism in culture, the new interest in transnational research, and the progress of the far right since 2002. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.