The political poster was one of the most widely discredited and closely policed aspects of cultural life in the former communist bloc. The poster's history is a story of aesthetic, political and finally, national liberation. This comprehensively illustrated comparative analysis of political poster design--drawn from major collections in Belorussia, Croatia, Czech Republic, Germany, Hungary, Latvia, Lithuania, Poland, Russia, Slovenia, and the Ukraine--exemplifies the aesthetic diversity of the region under communist rule.

Publikacja towarzysząca wystawie - "Sign of the times": Manchester Metropolitan University, 17.11.1999 - 31.01.2000.

From 1929 until 1953, Iosif Stalin’s image became a central symbol in Soviet propaganda. Touched up images of an omniscient Stalin appeared everywhere: emblazoned across buildings and lining the streets; carried in parades and woven into carpets; and saturating the media of socialist realist painting, statuary, monumental architecture, friezes, banners, and posters. From the beginning of the Soviet regime, posters were seen as a vitally important medium for communicating with the population of the vast territories of the USSR. Stalin’s image became a symbol of Bolshevik values and the personification of a revolutionary new type of society. The persona created for Stalin in propaganda posters reflects how the state saw itself or, at the very least, how it wished to appear in the eyes of the people. The ‘Stalin’ who was celebrated in posters bore but scant resemblance to the man Iosif Vissarionovich Dzhugashvili, whose humble origins, criminal past, penchant for violent solutions and unprepossessing appearance made him an unlikely recipient of uncritical charismatic adulation. The Bolsheviks needed a wise, nurturing and authoritative figure to embody their revolutionary vision and to legitimate their hold on power. This leader would come to embody the sacred and archetypal qualities of the wise Teacher, the Father of the nation, the great Warrior and military strategist, and the Saviour of first the Russian land, and then the whole world. This book is the first dedicated study on the marketing of Stalin in Soviet propaganda posters. Drawing on the archives of libraries and museums throughout Russia, hundreds of previously unpublished posters are examined, with more than 130 reproduced in full colour. The personality cult of Stalin in Soviet posters, 1929–1953 is a unique and valuable contribution to the discourse in Stalinist studies across a number of disciplines.

Protest is a ubiquitous and richly varied social phenomenon, one that finds expression not only in modern social movements and political organizations but also in grassroots initiatives, individual action, and creative works. It constitutes a distinct cultural domain, one whose symbolic content is regularly deployed by media and advertisers, among other actors. Yet within social movement scholarship, such cultural considerations have been comparatively neglected. Protest Cultures: A Companion dramatically expands the analytical perspective on protest beyond its political and sociological aspects. It combines cutting-edge synthetic essays with concise, accessible case studies on a remarkable array of protest cultures, outlining key literature and future lines of inquiry.

Imaging and Mapping Eastern Europe puts images centre stage and argues for the agency of the visual in the construction of Europe’s east as a socio-political and cultural entity. This book probes into the discontinuous processes of mapping the eastern European space and imaging the eastern European body. Beginning from the Renaissance maps of Sarmatia Europea, it moves onto the images of women in ethnic dress on the pages of travellers’ reports from the Balkans, to cartoons of children bullied by dictators in the satirical press, to Cold War cartography, and it ends with photos of protesting crowds on contemporary dust jackets. Studying the eastern European ‘iconosphere’ leads to the engagement with issues central for image studies and visual culture: word and image relationship, overlaps between the codes of othering and self-fashioning, as well as interaction between the diverse modes of production specific to cartography, travel illustrations, caricature, and book cover design. This book will be of interest to scholars in art history, visual culture, and central Asian, Russian and Eastern European studies.

This book offers a detailed analysis of the construction, reception and eventual decline of the cult of the Hungarian Communist Party Secretary, M ty s R kosi, one of the most striking examples of orchestrated adulation in the Soviet bloc. While his cult never approached the magnitude of that of Stalin, R kosi?s ambition to outshine the other ?best disciples? and become the best of the best was manifest in his diligence in promoting a Soviet-type following in Hungary. The main argument of Bal zs Apor is that the cult of personality is not just a curious aspect of communist dictatorship, it is an essential element of it. The monograph is primarily concerned with techniques and methods of cult construction, as well as the role various institutions played in the creation of mythical representations of political fi gures. Separate chapters present visual and non-visual methods of cult construction. The author engages with a wider international literature on Stalinist cults in an impressive manner. Apor uses the case of R kosi to explore how personality cults are created, how such cults are perceived, and how they are eventually unmade. The book addresses the success?generally questionable?of such projects, as well as their uncomfortable legacies.

Symbolism and Politics is a timely intervention into ongoing debates around the function of political symbols in a historical period characterized by volatile electoral behaviour, fragmented societies in search of collective identifications, and increasingly polarized political models. Symbols are central features of organized human life, helping to define perception, shaping the way we view the world and understand what goes on within it. But, despite this key role in shaping understanding, there is never a single interpretation of a symbol that everyone within the community will accept, and the way in which symbols can mobilize antagonistic political factions demonstrates that they are as much a central element in power struggles as they are avenues to facilitate processes of identification. This dual potential is the object of discussion in the chapters of this book, which sheds new light on our understanding of the political function of symbols in a historical period. Symbolism and Politics will be of great interest to scholars working on Political Symbols, Nationalism, Regime Change and Political Transitions. The chapters originally published as a special issue of Politics, Religion & Ideology.

From band posters stapled to telephone poles to the advertisements hanging at bus shelters to the inspirational prints that adorn office walls, posters surround us everywhere—but do we know how they began? Telling the story of this ephemeral art form, Elizabeth E. Guffey reexamines the poster’s roots in the nineteenth century and explores the relevance they still possess in the age of digital media. Even in our world of social media and electronic devices, she argues, few forms of graphic design can rival posters for sheer spatial presence, and they provide new opportunities to communicate across public spaces in cities around the globe. Guffey charts the rise of the poster from the revolutionary lithographs that papered nineteenth-century London and Paris to twentieth-century works of propaganda, advertising, pop culture, and protest. Examining contemporary examples, she discusses Palestinian martyr posters and West African posters that describe voodoo activities or Internet con men, stopping along the way to uncover a rich variety of posters from the Soviet Union, China, the United States, and more. Featuring 150 stunning images, this illuminating book delivers a fresh look at the poster and offers revealing insights into the designs and practices of our twenty-first-century world.

After visiting Russia in 1921, the journalist Lincoln Steffens famously declared, "I have seen the future, and it works." Steffens referred to the social experiment of technological utopianism he found in the Soviet Union, where subway cars and farm tractors would carry the worker and peasant -- figuratively and literally -- into the twentieth century. Believing that socialism and technology together created a brave new world, Boleslaw Bierut of Poland and Kim Il Sung of North Korea -- and other leaders -- joined Russia's Vladimir Lenin and Leon Trotsky in embracing big technology with a verve and conviction that rivaled the western world's. Paul R. Josephson here explores these utopian visions of technology -- and their unanticipated human and environmental costs. He examines the role of technology in communist plans and policies and the interplay between ideology and technological development. He shows that while technology was a symbol of regime legitimacy and an engine of progress, the changes it spurred were not unequivocally positive. Instead of achieving a worker's paradise, socialist technologies exposed the proletariat to dangerous machinery and deadly pollution; rather than freeing women from exploitation in family and labor, they paradoxically created for them the dual -- and exhausting -- burdens of mother and worker. The future did not work. The fall of the Soviet Union in 1991 marked the end of communism's self-proclaimed glorious quest to "reach and surpass" the West. Josephson's intriguing study of how technology both helped and hindered this effort asks new and important questions about the crucial issues inextricably linked with the development and diffusion of technology in any sociopolitical system.

First published in 2006, this volume provides the first in-depth analysis of the place of visual representations within the process of decolonisation during the period 1945 to 1970. The chapters trace the way in which different visual genres – art, film, advertising, photography, news reports and ephemera – represented and contributed to the political and social struggles over Empire and decolonisation during the mid-Twentieth century. The book examines both the direct visual representation of imperial retreat after 1945 as well as the reworkings of imperial and ‘racial’ ideologies within the context of a transformed imperialism. While the book engages with the dominant archive of artists, exhibitions, newsreels and films, it also explores the private images of the family album as well as examining the visual culture of anti-colonial resistance.