Chapters in this book

1. Frontmatter i
2. Contents v
3. Figures vii
4. ACKNOWLEDGMENTS xiii
5. Introduction 1
6. PART ONE. National Beginnings and Modernist Fears
7. 1. Photography and the Construction of Italian National Identity 27
8. 2. Local Colour and the Grey Aura of Modernity: Photography, Literature, and the Social Sciences in Fin-de-Siècle Italy 67
9. 3. Eternal Speed/Omnipresent Immobility: Futurism and Photography 97
10. PART TWO. Modern Memory Objects: Social Histories of the Photograph
11. 4. The Peripatetic Portrait: Exchange and Performance in Migration Photographs at the Turn of the Nineteenth Century 133
12. 5. Presente! The Latent Memory of Italy’s Great War in Its Photographic Portraits 149
13. PART THREE. Photography and the Acceleration of Modernity: Reality-Commodity-Violence
14. 6. Italian Neo-Realism between Cinema and Photography 183
15. 7. Photographic Excess: “Scandalous” Photography in Film and Literature after the Boom 217
16. 8. Images of Violence, Violence of Images: The “Years of Lead” and the Practice of Armed Struggle between Photography and Video 244
17. PART FOUR. Critiques of Modernity: Stillness, Motion, and the Ethics of Seeing
18. 9. The Body in and of the Image in the Films of Yervant Gianikian and Angela Ricci Lucchi 273
19. 10. Intersections of Photography, Writing, and Landscape: The Italian Landscape Photobook from Ghirri to Fossati and Messori 288
20. PART FIVE. Documents and Experiences
21. 11. A Photograph 317
22. 12. Essays: Photography and the Ready-Made and Apollo and Daphne : A Myth for Photography 322
23. Interview with Franco Vaccari 333
24. Bibliography 349