Red Aesthetics,Intermediality and the Use of Posters in Chinese Cinema after 1949

Abstract

This article focuses on the aesthetic and affective techniques of saturation through which posters legitimated the Party-State in Mao’s China by closing the gap between everyday experience and political ideology. Propaganda posters were designed to put into practice the principle of unity, as conceptualised by Mao Zedong. The argument posits that while the “poster” is normally a printed edition of a painting or design intended for mass distribution in this way, the term may fairly be deployed to capture other cultural objects that function as “posters”, in that they provide public, political information that expresses or constructs a political self in aesthetic form. This approach requires a metonymic understanding of a visual field in which cultural objects are interrelated and mutually reinforcing. The essay draws on recent in-depth interviews with poster artists of the 1960s and 1970s.     

The Mafia misunderstood – again

Abstract

Observers who have investigated Alleanza Nazionale's relationship to historical fascism have mostly relied on programmatic documents as well as Gianfranco Fini's speeches and interviews. This article tackles the same question by considering the visual propaganda produced by the party from its launch in 1994 to its merger with Silvio Berlusconi's Popolo della Libertà in March 2009. An examination of the logos, the portraits of Fini and other imagery that feature on posters, brochures, websites and the party daily Secolo d'Italia shows that they frequently refer, albeit mostly covertly, to the iconographies of fascism. The contemporary visual sources used by Alleanza Nazionale and the strategies adopted to present a modern and respectable image are also explored. The article argues that much of the propaganda of Alleanza Nazionale incorporates two levels of meaning: an overt and moderate one, which addressed the general public, and a concealed one celebrating ideas and values of the Ventennio, which aimed to reassure a hard-core of activists that the party had not betrayed its original identity.     

American Red Cross posters and the cultural politics of motherhood in World War I

Scholars have long held that World War I markedly impacted women's participation in the public sphere as questions of appropriate wartime participation for women arose. Posters were an important tool for communicating notions of feminine citizenship and patriotism during the US involvement in the war. In this article, I explore the influence of the US involvement in World War I on social constructions of white femininity and citizenship through their portrayal in American Red Cross posters produced between 1914 and 1919. These posters offer a distinct visual documentation of the cultural shift in the portrayal of, and the insistence on, white women's – particularly nurses’ – responsibilities during wartime. I argue that the sentiments and language of the newly splintered women's movements were co-opted into the service of the war and were further emboldened with religious sentiments. American Red Cross posters called upon women to enact their presumed innate nurturing tendencies, and by extension, their feminine citizenship, at both the home and warfronts. In this way, the labor of the private sphere was drawn into the service of the war but without fully admitting women into the public sphere.     

Images of the third world: teaching a geography of the third world

Abstract

This paper focuses on how to teach undergraduate students to analyse critically various received images of the Third World. This is achieved through the use of a detailed practical exercise which is based on poster, newspaper and map representation of the Third World. The concepts of identity, positionality and representation are reviewed and there is a discussion of how an awareness of these concepts should help students understand the influencing power of stereotypical images of distant others.     

Tourism posters in the Yishuv era: Between Zionist ideology and commercial language

This study examines the complex national messages conveyed, both verbally and visually, in Zionist commercial advertisement posters produced in the Yishuv during the 1930s and 1940s. It focuses on posters promoting tourism and vacationing in Palestine, representing the growing perception of the country as an attractive destination for modern tourism that is not only religiously motivated. The posters are examined as historical documents that shed light on the ways in which the foundations of tourism in the country were laid and imbued with ideological meaning through the verbal and visual language of the posters. The article seeks to contribute to the study of Zionist visual culture in the Yishuv era by employing an interdisciplinary approach that combines textual-linguistic and contextual-historical analysis.