section_path: Culture/Aesthetics
section_name: Aesthetics
paragraph_text: Aesthetics
  
  In The Work of Art in the Age of Mechanical Reproduction (1935), Walter Benjamin identifies aestheticization of politics as a key ingredient in fascist regimes. On this point he quotes Filippo Tommaso Marinetti, founder of the Futurist art movement and co-author of the Fascist Manifesto (1919), who aestheticizes war in his writings and claims that "war is beautiful."
  
  In Simulacra and Simulation (1981), Jean Baudrillard interprets fascism as a "political aesthetic of death" and a vehement countermovement against the increasing rationalism, secularism, and pacifism of the modern Western world.
  
  The standard definition of fascism, given by Stanley G. Payne, focuses on three concepts, one of which is a "fascist style" with an aesthetic structure of meetings, symbols, and political liturgy, stressing emotional and mystical aspects.
  
  Emilio Gentile argues that fascism expresses itself aesthetically more than theoretically by means of a new political style with myths, rites, and symbols as a lay religion designed to acculturate, socialize, and integrate the faith of the masses with the goal of creating a " new man ".
  
  Cultural critic Susan Sontag writes:
  
  Fascist aesthetics... flow from (and justify) a preoccupation with situations of control, submissive behavior, extravagant effort, and the endurance of pain; they endorse two seemingly opposite states, egomania and servitude. The relations of domination and enslavement take the form of a characteristic pageantry: the massing of groups of people; the turning of people into things; the multiplication or replication of things; and the grouping of people/things around an all-powerful, hypnotic leader-figure or force. The fascist dramaturgy centers on the orgiastic transactions between mighty forces and their puppets, uniformly garbed and shown in ever swelling numbers. Its choreography alternates between ceaseless motion and a congealed, static, 'virile' posing. Fascist art glorifies surrender, it exalts mindlessness, it glamorizes death.
  
  Sontag also enumerates some commonalities between fascist art and the official art of communist countries, such as the obeisance of the masses to the hero, and a preference for the monumental and the "grandiose and rigid" choreography of mass bodies. But whereas official communist art "aims to expound and reinforce a utopian morality", the art of fascist countries such as Nazi Germany "displays a utopian aesthetics – that of physical perfection", in a way that is "both prurient and idealizing".
  
  According to Sontag, fascist aesthetics "is based on the containment of vital forces; movements are confined, held tight, held in." Its appeal is not necessarily limited to those who share the fascist political ideology because fascism "stands for an ideal or rather ideals that are persistent today under the other banners: the ideal of life as art, the cult of beauty, the fetishism of courage, the dissolution of alienation in ecstatic feelings of community; the repudiation of the intellect; the family of man (under the parenthood of leaders)."