Thomas Helbig’s contribution examines Aby Warburg’s engagement with cinema, focusing on his 1929 encounter with the documentary La conciliazione fra l'Italia e il Vaticano. Drawing on his letters, diary entries, and the Mnemosyne Atlas, the article traces Warburg’s analysis of fascist imagery—particularly Benito Mussolini's body language and self-staging—and situates it within a broader genealogy of political iconography.
Thomas Helbig (Thu,) studied this question.