Mussolini and the idealisation of empire : the Augustan exhibition of Romanita

The Augustan Exhibition of Romanita`, held in Rome’s Palazzo delle Esposizioni between 1937 and 1938, exemplifies the aestheticisation, ritualisation and sacralisation of politics during the Fascist era in Italy. This article conducts a multi-layered spatial analysis of the exhibition that considers space as passively experienced, as an agent to re-map memory, as a mediator between intention and reception and as having both physical and mental characteristics. The relative sizes of the spaces, their sequence and their axial placement within the Palazzo’s plan were the most powerful forces that conveyed the exhibition’s overall political and social aims. The Mostra Augustea della Romanita` (MAR) is here analysed as a form of historical representation with a specific narrative which is played out within an orchestrated space in order to create and reinforce a (Fascist) political identity. The idea of Rome took on material aspects through a kind of ‘recognition effect’ for the visitor by presenting Romanita` as a collective mirror in which to view an image of their own social visage. Thus an active connection would, according to the organisers, be forged between a Roman past and a Fascist present, and its two leaders and creators, Augustus and Mussolini, as well as between the individual and society. The MAR also demonstrates the prevalence of the cult of Il Duce in Fascist society and its importance for maintaining high levels of consent. With its focus on a particular view of the ancient world, the MAR was an ephemeral event that acted as teleological justification for the advent and supposed permanence of Fascism, which at the same time presented itself as a unique archaeological, scientific and educational document of the Roman world.

Empire in British girls' literature and culture: imperial girls, 1880-1915

While the gender and age of the girl may seem to remove her from any significant contribution to empire, this book provides both a new perspective on familiar girls' literature, and the first detailed examination of lesser-known fiction relating the emergence of fictional girl adventurers, castaways and 'ripping' schoolgirls to the British Empire.

Empire

Empire re-animates found historic stereographic photographs predominantly of Melbourne’s city centre between 1927 and 1940 when the colonial trace was slowly receding. Melbourne’s main Flinder’s Street Intersection is unsettlingly transformed into a Cubist perceptual maelstrom through repetition and flicker.

Requiem for Empire : Fabian Ware and the Imperial War Graves Commission

More than one million soldiers of the British Empire died in the First World War. The Imperial War Graves Commission, created in 1917, had as its mandate the obligation to care for their graves and memorials, in 1850 cemeteries in more than 100 countries around the globe. Its founder, Fabian Ware, hoped and expected this Commission to have even more enduring effects, yet the political origins of the organisation remain little understood. This chapter looks beyond the monuments erected by the Imperial War Graves Commission to the ideals and intent of its creators. It argues that the driving force behind this major commemorative work was not a desire to represent any fundamental break with the past, but an attempt to produce an institution that symbolised imperial cooperation and memorialised the war and its dead in a way that would continue to place the British Empire at the centre of world affairs.

The British empire and Australian girls' annuals

This article explores two series of girls' annuals: the Empire Annual for Australian Girls (1909-30), published by the Religious Tract Society, and the Australian Girl's Annual (1910-3?), published by Cassell. Although both series were seemingly targeted at Australian girls, they were published in Britain before being given a new title and sent to the colonies. This article examines the implications of these British models of girlhood for their explicitly colonial girl readers. The British publishers of these annuals addressed an apparently homogenous readership comprised of girls from white settler colonies and Britain without attempting to customize the contents of their books for different audiences. In both fiction and illustrations, the annuals simultaneously employed and produced a British model of girlhood that was attractive to Australian girl readers.

The pioneering years of Australian animation (1900–1930): from animated sketches to animation empire

This article describes the very earliest beginnings of Australian animation, detailing the events, processes, and the people who pioneered this medium from approximately 1900 to 1930. It examines these early achievements, which range from the first ‘animated lightning sketches’ to the rise and subsequent demise of a major animation studio. Much of this article focuses on the innovative work of Harry Julius (1885–1938) who is generally regarded as the chief pioneer of animation in Australia. However, as this article reveals, there were others who experimented with animation before Julius, and there were a number of artists and animators who worked alongside him in those early decades. Together, Julius and team built the very successful Sydney-based studio, Cartoon Filmads, which developed into what could only be described as an ‘animation empire’ with a robust national and international reach. This article details some of the authors’ extensive research surrounding these previously overlooked cinematic efforts, and carefully analyses these in terms of content, production, audience reception and international context.