Cogs and Wheels: The material culture of revolutionary China

April 22, 2007

The aesthetics of totalitarianism (or what not to say when being interviewed by a German magazine)

Bryan Ferry got into hot water this week (as reported by the BBC) for describing the visual iconography of Nazism as ‘beautiful’.

“My God, the Nazis knew how to put themselves in the limelight and present themselves,” he gushed to the German magazine Welt am Sonntag. “I’m talking about Leni Riefenstahl’s movies and Albert Speer’s buildings and the mass parades and the flags – just amazing. Really beautiful.”  (Via BBC Online)

While it was a pretty naive thing to say, it highlights the inherent problems associated with attempting to critically analyse the aesthetics of totalitarian regimes.  It also serves to force me, once again, to confront my own reservations about my area of research.  I’m sure a lot of people that I mention my work to, think I’m a little peculiar, and part of me worries a lot about what sort of image they are constructing of me (as a raving Communist or something!).

I’ve written before about the double standards reflected by the rejection (rightly so, of course) of Nazi iconography, while visual references to communism are embraced by popular culture. While I would baulk at suggestions that Nazism was aesthetically beautiful – approaching, as I do, like the vast majority of ‘normal’ well-adjusted people – the subject with a mass of unpleasant and disturbing associations, I find it compelling, even though it makes me intensely uncomfortable.#  Afterall, it was meant to be powerful and soul-stirring.  Goebbels was a master propagandist.  He completely understood the power of film, in particular, to shape public opinion, create a sense of and identification with the ‘Fatherland’, and lay the ground for widespread acceptance of the eugenics programme, which resulted in the ‘Final Solution’.  And it was the films of Leni Riefenstahl that first got me interested in visual propaganda while I was studying for my A Level in European History. 

The furore that accompanied Ferry’s comments immediately put me in mind of the outcry engendered by Crispian Mill’s (the singer in Kula Shaker, a 90s band heavily influenced by 60s psychedelia and ‘eastern’ mysticism.  That was a long time ago!!) when he commented in the NME that the swastika was a Hindu symbol.  Which, of course, it is – though one which was adopted and subverted by Nazism.  The response to what I suspect was a craftily edited version of the interview, not only revealed an ignorance about the historical and cultural life of the swastika*, but an understandable reluctance in society to accept critical analysis of the visual iconography of the Third Reich.  Somehow, while we have dealt with the spectre of facism in the twentieth century to an extent where we can watch endlessly repeated documentaries about Hitler and the Second World War on the telly in, what appears to be a fairly detached manner, we cannot see the swastika, or images from the Nuremberg Rally, without feeling utter repugnance.  These visual symbols, or identifiers, of the Nazi regime have retained their psychological power and menace in a way that communist iconography hasn’t.   And while the meaning of communist visual culture in the west has transmogrified into something else and infinitely less threatening (i.e. high camp Commie Kitsch, or – at the very least – youthful idealism), its Nazi counterpart hasn’t.  Consider two young men, one wearing a Che t-shirt and the other with a swastika tippexed on his jacket.  Who would you prefer to sit next to on the tube?  Okay, that’s probably a bit facetious, but you get my drift.   In the 1970s, the potent symbolism of Nazism lent itself to Vivian Westwood and Malcolm McClaren’s promotion of the swastika in a sub-cultural context as a form of sedition.  On the surface of it, the wearing of fascist iconography was taken to mean an identification with the far-right.  But intellectually, it was more an act of social transgression.  Though I don’t doubt some were attracted to punk because they did identify with the far-right.  For more on this read Griel Marcus’ Lipstick Traces, or The Swastika: Constructing the Symbol, by Malcolm Quinn.

I’m well aware that I’m rehashing the same old themes time and time again in this blog, but I’m really having difficulty getting to grips with this particular aspect of my research.  Why, when the outcomes of both ideologies were similar, i.e. oppression, death and destruction on unimaginable scales, are Communism and Fascism viewed so differently? 

#Please don’t think I identify with Nazism on a personal – or any – level.  At the last election I did one of those online surveys designed to help floating voters make up your mind who to vote for.  I categorised myself as ‘left of centre’ and answered a series of questions about burning issues like immigration and fox-hunting (broadly for, and against, if anyone is wondering!).  I was slightly bemused to find out at the end that while most people who place themselves in that political ‘zone’ are actually slightly more right-wing than they might admit, I was significantly of the leftist persuasion – even more so than I thought.  Which I guess does make me a raving communist!  😉

*As an aside, I remember seeing a Victorian tea service on display at York Castle Museum, which prominently displayed the swastika as a decorative device.  To its credit, the museum discretely, but directly acknowledged its presence, and the connotations it now holds, while explaining its original function as a good luck symbol.  It could have been so easy to remove the tea set from display and pretend it didn’t exist.  We have to confront the difficult and the disturbing and the uncomfortable sometimes, to better understand the world in which we live.  If we avoid the problematics of history, well, we might as well be Holocaust deniers ourselves.

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