Developing a knowledge of the Spanish-Italian connection between right-wing extremist groups is crucial to any detailed understanding of the history of fascism. Transnational Fascism in the Twentieth Century allows us to consider the global fascist network that built up over the course of the 20th century by exploring one of the significant links that existed within that network. It distinguishes and analyses the relationship between the fascists of Spain and Italy at three interrelated levels - that of the individual, political organisations and the state - whilst examining the world relations and contacts of both fascist factions, from Buenos Aires to Washington and Berlin to Montevideo, in what is a genuinely transnational history of the fascist movement. Incorporating research carried out in archives around the world, this book delivers key insights to further the historical study of right-wing political violence in modern Europe.

How the breeding of new animals and plants was central to fascist regimes in Italy, Portugal, and Germany and to their imperial expansion. In the fascist regimes of Mussolini's Italy, Salazar's Portugal, and Hitler's Germany, the first mass mobilizations involved wheat engineered to take advantage of chemical fertilizers, potatoes resistant to late blight, and pigs that thrived on national produce. Food independence was an early goal of fascism; indeed, as Tiago Saraiva writes in Fascist Pigs, fascists were obsessed with projects to feed the national body from the national soil. Saraiva shows how such technoscientific organisms as specially bred wheat and pigs became important elements in the institutionalization and expansion of fascist regimes. The pigs, the potatoes, and the wheat embodied fascism. In Nazi Germany, only plants and animals conforming to the new national standards would be allowed to reproduce. Pigs that didn't efficiently convert German-grown potatoes into pork and lard were eliminated. Saraiva describes national campaigns that intertwined the work of geneticists with new state bureaucracies; discusses fascist empires, considering forced labor on coffee, rubber, and cotton in Ethiopia, Mozambique, and Eastern Europe; and explores fascist genocides, following Karakul sheep from a laboratory in Germany to Eastern Europe, Libya, Ethiopia, and Angola. Saraiva's highly original account-the first systematic study of the relation between science and fascism-argues that the "back to the land" aspect of fascism should be understood as a modernist experiment involving geneticists and their organisms, mass propaganda, overgrown bureaucracy, and violent colonialism.

This book proposes an interpretation of Francoism as the Spanish variant of fascism. Unlike Italian fascism and Nazism, the Franco regime survived the Second World War and continued its existence until the death of dictator Francisco Franco. Francoism was, therefore, the Last Survivor of the fascisms of the interwar period. And indeed this designation applies equally to Franco. The work begins with an analysis of the historical identity of Spanish fascism, constituted in the process of fascistization of the Spanish right during the crisis of the Second Republic, and consolidated in the formation of the fascist single-party and the New State during the civil war. Subsequent chapter contributions focus on various cultural and social projects (the university, political-cultural journals, the Labor University Service, local policies and social insurance) that sought to socialize Spaniards in the political principles of the Franco regime and thereby to strengthen social cohesion around it. Francoism faced varying degrees of non-compliance and outright hostility, expressed as different forms of cultural opposition to the Franco regime, especially in the years of its maturity (decades of the fifties and sixties), from Spaniards both inside Spain and in exile. Such opposition is explored in the context of how the regime reacted via the social, cultural and economic inducements at its disposal. The editors and contributors are widely published in the field of Spain of the Second Republic, the civil war and the Franco dictatorship. Research material is drawn from primary archival sources, and provides new information and new interpretations on Spanish politics, culture and society during the dictatorship.

A philosophical investigation of dealing with guilt and its impact on democracy, in the case of Austrian NazisDrawing on the work of Hannah Arendt and Theodor W. Adorno, this book illustrates the relevance and applicability of a political discussion of guilt and democracy. It appropriates psychoanalytic theory to analyse court documents of Austrian Nazi perpetrators as well as recent public controversies surrounding Austria's involvement in the Nazi atrocities and ponders how the former agents of Hitlerite crimes and contemporary Austrians have dealt with their guilt. Exposing the defensive mechanisms that have been used to evade facing involvement in Nazi atrocities, Leeb considers the possibilities of breaking the cycle of negative consequences that result from the inability to deal with guilt. Leeb shows us that only by guilt can individuals and nations take responsibility for their past crimes, show solidarity with the victims of crimes, and prevent the emergence of new crimes.

This book is an intellectual history of Ernst Fraenkel's The Dual State (1941, reissued 2017), one of the most erudite books on the theory of dictatorship ever written. Fraenkel's was the first comprehensive analysis of the rise and nature of Nazism, and the only such analysis written from within Hitler's Germany. His sophisticated-not to mention courageous-analysis amounted to an ethnography of Nazi law. As a result of its clandestine origins, The Dual State has been hailed as the ultimate piece of intellectual resistance to the Nazi regime. In this book, Jens Meierhenrich revives Fraenkel's innovative concept of "the dual state," restoring it to its rightful place in the annals of public law scholarship. Blending insights from legal theory and legal history, he tells in an accessible manner the remarkable gestation of Fraenkel's ethnography of law from inside the belly of the behemoth. In addition to questioning the conventional wisdom about the law of the Third Reich, Meierhenrich explores the legal origins of dictatorship elsewhere, then and now. The book sets the parameters for a theory of the "authoritarian rule of law," a cutting edge topic in law and society scholarship with immediate policy implications.

France is often held up as a bastion of gastronomic refinement and as a model of artisanal agriculture and husbandry. But French farming is not at all what it seems. Countering the standard stories of gastronomy, tourism, and leisure associated with the French countryside, Venus Bivar portrays French farmers as hard-nosed businessmen preoccupied with global trade and mass production. With a twin focus on both the rise of big agriculture and the organic movement, Bivar examines the tumult of postwar rural France, a place fiercely engaged with crucial national and global developments. Delving into the intersecting narratives of economic modernization, the birth of organic farming, the development of a strong agricultural protest movement, and the rise of environmentalism, Bivar reveals a movement as preoccupied with maintaining the purity of the French race as of French food. What emerges is a story of how French farming conquered the world, bringing with it a set of ideas about place and purity with a darker origin story than we might have guessed.

The Screen Is Red portrays Hollywood's ambivalence toward the former Soviet Union before, during, and after the Cold War. In the 1930s, communism combated its alter ego, fascism, yet both threatened to undermine the capitalist system, the movie industry's foundational core value. Hollywood portrayed fascism as the greater threat and communism as an aberration embraced by young idealists unaware of its dark side. In Ninotchka, all a female commissar needs is a trip to Paris to convert her to capitalism and the luxuries it can offer. The scenario changed when Nazi Germany invaded the Soviet Union in 1941, making Russia a short-lived ally. The Soviets were quickly glorified in such films as Song of Russia, The North Star, Mission to Moscow, Days of Glory, and Counter-Attack. But once the Iron Curtain fell on Eastern Europe, the scenario changed again. America was now swarming with Soviet agents attempting to steal some crucial piece of microfilm. On screen, the atomic detonations in the Southwest produced mutations in ants, locusts, and spiders, and revived long-dead monsters from their watery tombs. The movies did not blame the atom bomb specifically but showed what horrors might result in addition to the iconic mushroom cloud.Through the lens of Hollywood, a nuclear war might leave a handful of survivors (Five), none (On the Beach, Dr. Strangelove), or cities in ruins (Fail-Safe). Today the threat is no longer the Soviet Union, but international terrorism. Author Bernard F. Dick argues, however, that the Soviet Union has not lost its appeal, as evident from the popular and critically acclaimed television series The Americans. More than eighty years later, the screen is still red.

Fascism was one of the twentieth century's principal political forces, and one of the most violent and problematic. Brutal, repressive and in some cases totalitarian, the fascist and authoritarian regimes of the early twentieth century, in Europe and beyond, sought to create revolutionary new orders that crushed their opponents. A central component of such regimes' exertion of control was criminal law, a focal point and key instrument of State punitive and repressive power. This collection brings together a range of original essays by international experts in the field to explore questions of criminal law under Italian Fascism and other similar regimes, including Franco's Spain, Vargas's Brazil and interwar Romania and Japan. Addressing issues of substantive criminal law, criminology and ideology, the form and function of criminal justice institutions, and the role and perception of criminal law in processes of transition, the collection casts new light on fascism's criminal legal history and related questions of theoretical interpretation and historiography. At the heart of the collection is the problematic issue of continuity and similarity among fascist systems and preceding, contemporaneous and subsequent legal orders, an issue that goes to the heart of fascist regimes' historical identity and the complex relationship between them and the legal orders constructed in their aftermath. The collection thus makes an innovative contribution both to the comparative understanding of fascism, and to critical engagement with the foundations and modalities of criminal law across systems.

This book is a fictional account of the life of German film and theatre actor Werner Krauss, eponymous star of the classic silent film The Cabinet of Doctor Caligari. Upon gaining worldwide recognition in this film, Krauss was co-opted into the Nazi hate campaign of the 1930s and 1940s. He featured in the vicious propaganda film Jud Suss, and he was complicit in giving anti-Semitic performances onstage, most notably as Shylock in Shakespeares The Merchant of Venice. The book focuses on three distinct eras in Krauss life: the struggling, exuberant actor of the 1920s; the philandering pragmatist of the 1930s; and the elderly, neurotic outcast of the 1940s. Despite his honourable intentions, Krauss was all-too-often undermined by his inability to say no to women, alcohol and the egregious Joseph Goebbels. In this fictional re-imagining of his life, Krauss motives and decisions are explored in an attempt to discover why he collaborated with the Nazis in the way that he did, as well as demonstrating the personal and political consequences of his actions. As someone who was influenced by the Nazi regime, and, in turn, influential in perpetuating their message, Krauss story tells the wider story of the role of the arts and media in Nazi Germany. Extensively researched, including contemporary news stories, archived film material, critical essays on Krauss and translated passages from his autobiography, Das Schauspiel Meines Lebens, this fictional reconstruction of Krauss life and career is preceded by a substantive Introduction by the author, setting the novel in the context of the genre of Holocaust fiction, emulating and reminiscent of Christopher Isherwood's Goodbye to Berlin and Thomas Keneally's Schindler's Ark.

Here is the story, in his own words, of how Cesare Mori, with the support of Italian Fascist leader Benito Mussolini, took on the might of the Sicilian Mafia. It was a struggle that earned Mori much criticism of his methods from the liberal media, but much praise not only from Mussolini himself but from the people of Sicily who had for decades lived in fear of this criminal secret society which had become the scourge of ordinary Sicilians. There was nothing of a flashy nature about the Mafia in Sicily. Operating in a non-industrialised society, the Mafioso in Sicily made their wealth not from drugs, prostitution and gambling, but from the theft of horses and livestock, kidnapping, and the extortion of money from simple town and country folk and large landowners alike, and like their American colleagues the Sicilian Mafia enforced their rule through violence and murder. However, with the Allied invasion of Sicily in 1943, the U.S. Military enlisted the help of the American Mafia in re-establishing Mafia activity in Sicily, with the aim of undermining Fascist rule - a tactic that not only had far reaching consequences for Sicily, but for the whole of Italy for decades to come.In another time or place Cesare Mori's struggle against the Mafia would have been remembered alongside Elliott Ness, but it is now a story largely forgotten, because, like much else, it was an achievement of the Mussolini era, and as such is to be written out of history. Cesare Mori's story of his struggle against the Mafia not only deserves to be told, but it provides an insight into Sicilian society and a rural way of life that has for the most part now disappeared.