By Mark Antliff
Antliff considers 3 French fascists: Georges Valois, Philippe Lamour, and Thierry Maulnier, demonstrating how they appropriated the avant-garde aesthetics of cubism, futurism, surrealism, and the so-called Retour à l’Ordre (“Return to Order”), and, in a single example, even outlined the “dynamism” of fascist ideology by way of Soviet filmmaker Sergei Eisenstein’s concept of montage. For those fascists, smooth artwork used to be the mythic harbinger of a regenerative revolution that will overthrow current governmental associations, inaugurate an anticapitalist new order, and wake up the inventive and inventive capability of the fascist “new man.”
In formulating the nexus of fascist ideology, aesthetics, and violence, Valois, Lamour, and Maulnier drew totally on the writings of the French political theorist Georges Sorel, whose inspiration of progressive delusion proved primary to fascist theories of cultural and nationwide regeneration in France. Antliff analyzes the impression of Sorel’s idea of delusion on Valois, Lamour, and Maulnier. Valois created the 1st fascist circulation in France; Lamour, a follower of Valois, proven the short-lived Parti Fasciste Révolutionnaire in 1928 prior to founding fascist-oriented journals; Maulnier solid a concept of fascism less than the auspices of the journals Combat and Insurgé.
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Extra info for Avant-Garde Fascism: The Mobilization of Myth, Art, and Culture in France, 1909–1939
Avant-Garde Fascism: The Mobilization of Myth, Art, and Culture in France, 1909–1939 by Mark Antliff