Contribution examines Warburg's analysis of fascist imagery using his letters and the Mnemosyne Atlas, suggesting new insights into political iconography.
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.
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Thomas Helbig (2026) studied this question.
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