What is interesting about the relation between politics and art under National Socialism is not that art was subordinated to political needs... but that politics appropriated the rhetoric of art—art in its late romantic phase.< ... Nazi art is both prurient and idealizing. A utopian aesthetics (physical perfection; identity as a biological given) implies an ideal eroticism: sexuality converted into the magnetism of leaders and the joy of followers. The fascist ideal is to transform sexual energy into a 'spiritual' force, for the benefit of the community. The erotic (that is, women) is always present as a temptation, with the most admirable response being a heroic repression of the sexual impulse... Fascist aesthetics is based on the containment of vital forces; movements are confined, held tight, held in.
(...)There is a general fantasy about uniforms. They suggest community, order, identity (through ranks, badges, medals, things which declare who the wearer is and what he has done: his worth is recognized), competence, legitimate authority, the legitimate exercise of violence. But... why the SS? Because the SS was the ideal incarnation of fascism's overt assertion of the righteousness of violence, the right to have total power over others and to treat them as absolutely inferior. It was in the SS that this assertion seemed most complete, because they acted it out in a singularly brutal and efficient manner; and because they dramatized it by linking themselves to certain aesthetic standards. The SS was designed as an elite military community that would be not only supremely violent but also supremely beautiful (... The SA, whom the SS replaced, were not known for being any less brutal than their successors, but they have gone down in history as beefy, squat, beerhall types; mere brownshirts.)
|Boyd Rice - the limits|
of the sexual imagination
Why has Nazi Germany, which was a sexually repressive society, become erotic? How could a regime which persecuted homosexuals become a gay turn-on?
A clue lies in the predilections of the fascist leaders themselves for sexual metaphors. Like Nietzsche and Wagner, Hitler regarded leadership as sexual mastery of the 'feminine' masses, as rape. (The expression of the crowds in Triumph of the Will is one of ecstasy; the leader makes the crowd come.) Left-wing movements have tended to be unisex, and asexual in their imagery. Right-wing movements, however puritanical and repressive the realities they usher in, have an erotic surface. Certainly Nazism is 'sexier' than communism (which is not to the Nazis' credit, but rather shows something of the nature and limits of the sexual imagination).
Susan Sontag, Fascinating Fascism , New York Review of Books, February 6, 1975. Republished in Under the Sign of Saturn, (New York, 1980), pp. 73-105.