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

Donald, Stephanie (2014) Red Aesthetics, Intermediality and the Use of Posters in Chinese Cinema after 1949. Asian Studies Review, 38 (4). pp. 658-675. ISSN Print ISSN: 1035-7823

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

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 conceptua- lised 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 con- structs 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.

Keywords:China PRC, Mao Zedong, Red art, revolutionary film, red aesthetics, slogans, intermediality
Subjects:W Creative Arts and Design > W213 Visual Communication
T Eastern, Asiatic, African, American and Australasian Languages, Literature and related subjects > T130 Chinese Society and Culture studies
Divisions:College of Arts > Lincoln School of Film & Media > Lincoln School of Film & Media (Film)
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ID Code:31841
Deposited On:18 Jun 2018 14:47

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