Scholars have been examining the question of the propaganda of the Fascist regime (and its relationship with censorship) for some decades now, yet its origins remain somewhat unclear. First of all, the essay aims to show that, from the methodological point of view, analysis of issues of this kind requires an open dialogue between historical disciplines and the various branches of visual studies. The underlying hypothesis is that the traumatic experience of the Great war generated a new “observer” of the images used in communication...