Written by Elysium
This article is a review of the film Titus – a modern interpretation of Shakespeare’s Titus Andronicus. However, I will not be covering the plot, characters or any scenes; as I wish to focus on something, which has not yet been addressed and which I think this film is particularly effective at illustrating.
The film itself is a clever fusion of Roman and classical aesthetics with modern aesthetics, particularly minimalism. In this article I suggest that a similar usage of public imagery – of modernised traditional authority – should be the basis of the public aesthetics of an Aryanist State. Evidently, in many nations the combination of the West’s Greco-Roman heritage with today’s internationally applicable aesthetics is irrelevant and would require a different traditional basis.
This combination was ever-present in National Socialist Germany. From the adoption of the Roman salute to the re-emergence of classical architecture, these defining marks of the regime’s aesthetics reflect the classical component of its public aesthetics. This component was reinvigorated for the age with modern modifications and innovations of the so-called technocratic regime.
While not strictly in terms of National Socialist Germany, this combination has made its way into a number of films, including Equilibrium as well as Titus, which have both showcased classical architecture prominently (e.g. the Palazzo della Civiltà Italiana). Additionally, the uniforms are distinctly drawn both from Rome and the modern day (and in some cases, the future).
The film also includes degenerate imagery, which I have not included here. However, I would suggest for those interested that they watch the film to learn what contrasts between the aesthetics of the more Aryan characters and the aesthetics of the non-Aryan characters.