L’iscrizione del gesto nel visibile. Note sulla coreografia della storia

The essay explores the problematic representation of crowds and fascist aesthetics in relation to the modernist textualization of the body. By taking into account the historiography of Aby Warburg, the essay analyses the materiality and making of films by Harun Farocki, Busby Berkeley and Leni Riefenstahl in order to underscore the difference between sight and visuality in historical representations.