Relevant bibliographies by topics / Political posters, Soviet

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Academic literature on the topic 'Political posters, Soviet'

Author: Grafiati
Published: 4 June 2021
Last updated: 16 February 2022

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Journal articles on the topic "Political posters, Soviet"

1

Krivulya, Natalia G. "Development of the Animated Poster in the First Half of the XX century." Journal of Flm Arts and Film Studies 8, no. 3 (September 15, 2016): 19–33. http://dx.doi.org/10.17816/vgik8319-33.

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The genre of animated posters emerged at the dawn of animation. In 1899, A. Cooper an English director created one of the first movie-posters in the history of world animation. The need for movie-posters with propaganda characteristics arose during the period of the WW1. During that time, the genre of the animated poster had been developed and had even become a stimulus to the development of the animation and film industry. It had achieved its greatest success in the UK due to the advanced level of printed graphics, as well as the fact that the British pioneered the development of systematic promotion approaches. German animators also worked in the genre of animated posters, but they filmed mostly instructional movies which presented technical or military information in a clear and simple form. By the end of the WW1 the structure of movie posters had evolved from transparent to narrative. During the war the genre of the animated poster was not developed in Russia. After the war, propaganda film-posters disappeared from the screens. Their place was taken by mostly political, educational and promotional posters. The time of experimentation with figurative language, technology, and structure of the animated poster was in 1920-1930s. Themes, targets and the form of presentation had changed, but the function remained the same - informational and visual propaganda. As the commercial poster had developed predominantly in European and American animation, the release of political posters initiated the development of Soviet animation. Sentiment changes in global politics and the situation in Europe during the late 1930s which evolved into the WW2, once again stimulated the entertainers interest for the genres of political-propaganda, patriotic, and instructive posters. During the war the production of animated posters formed a considerable portion of all the animation filmed in Soviet as well as American studios. With the cessation of hostilities films in the poster animation genre almost disappeared from the screens.
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2

Berezin, Mabel, and Victoria E. Bonnell. "Iconography of Power: Soviet Political Posters under Stalin." Contemporary Sociology 28, no. 2 (March 1999): 194. http://dx.doi.org/10.2307/2654875.

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Föger, Katharina. "Koloniale Fesseln brechen. Afrikanische Dekolonisierungsprozesse auf sowjetischen Plakaten der 1960er-Jahre." historia.scribere, no. 13 (June 22, 2021): 97. http://dx.doi.org/10.15203/historia.scribere.13.635.

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Breaking Colonial Shackles. African Decolonization Processes on Soviet Posters of the 1960sSince its beginnings, the Soviet Union has emphasized its anti-colonial solidarity. This paper examines how this political ambition was displayed on soviet posters during African decolonization processes in the 1960s. Combining the graphic analysis by Panofsky and the analytical focus on physical representations, it will be shown how the depiction of a strong, young man was used to create an ideal picture of an emancipated African freedom fighter who opposes western colonial powers.
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Krivulya, Natalia G. "Education Genres Animated Poster in the Second Half of the 20th Century." Journal of Flm Arts and Film Studies 8, no. 4 (December 15, 2016): 28–42. http://dx.doi.org/10.17816/vgik8428-42.

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After WWII the genre of the animated poster was predominantly presented as advertisment films. The movie posters imagery in the 1950s tended to have an illustrative and spatial-pictorial artistic propensity. Grotesque and satire gave way to the dominance of realistic images, and the artistic design had gained coloration and splendor, creating the image of a cheerful world, affluence and prosperity. Films with propaganda and ideological orientations appeared along with the advertisement films, as the political and social poster developed. A special role in the poster genre development was played by the emergence of television as a major customer and distributor of this product. Unlike Western animation, the production of advertisement and social film-posters in the USSR was a state tool of the planned economy. Animated posters played an important role in the formation of new social strategies, behavior patterns and consumption. As a result, in the animated posters of the Soviet period, especially during the 1950s and 1960s, a didactic tone and an optimistic pathos in the presentation of the material dominated. The stylistics of film-posters changed in the 1960s. Their artistic image was characterized by conciseness and expressiveness, inclination towards iconic symbolism, and the metaphoric and graphic quality of the imagery. The poster aesthetics influenced the entire animation development in this period. The development of advertisement and social posters continued in the 1970s-1980s. The clipping principles of the material presentation began to develop in the advertisement poster, however, in the social and political poster there was a tendency towards narration. Computer technology usage in animation and the emergence of the Internet as a new communicative environment contributed to a new stage in the development of the animated poster genre. Means of expression experienced a qualitative upgrade under the influence of digital technologies in animated posters. While creating an animated posters artistic appearance the attraction and collage tendencies intensify due to the compilation of computer graphics and photographic images, furthermore, simulacrum-images are actively utilized as well. Since the 2000s, digital technologies are actively used for the development of social, instructional and educational posters. The advent of new technologies has led to modifications of the animated poster genre, changed the way it functions and converted its form. Along with cinematic and television forms - new types of animated posters have appeared which are used in outdoor advertising (billboards) as well as dynamic interactive banners and animated posters on web sites.
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Kalkina, Valeriya. "Between Humour and Public Commentary: Digital Re-appropriation of the Soviet Propaganda Posters as Internet Memes." Journal of Creative Communications 15, no. 2 (February 23, 2020): 131–46. http://dx.doi.org/10.1177/0973258619893780.

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Over the last two decades, Russian Internet accumulated a range of images originating from the Soviet epoch, including everything from official portraits of Soviet leaders to representations of Soviet greeting cards and postage stamps. While some of those digitised items remain intact, others become a part of different creative practices inherent to online environment, such as photo manipulating, remixing, recombining and merging with elements attributing to other historical or national contexts. The current article investigates one instance of creative re-appropriation of the Soviet visual legacy on the Internet: construction of digital memes from the former Soviet propaganda posters. Upon focusing on three iconic posters, namely Did you Volunteer? (1920), Do not Talk! (1941) and Motherland is Calling! (1941), this study examines how the propaganda images have been transformed by contemporary Russian users into ‘templates’ for meme-making. Furthermore, the article identifies two particular functions of memes based on the Soviet propaganda posters: first, as a form of a peculiar humour, known in Russian tradition as stiob and, second, as an instrument for voicing of public opinion, through which users comment on urgent political and social issues. The article concludes that the remakes of Soviet propaganda images do not fall within any hitherto discovered category of humorous, political or historical memes, and therefore, they should be considered as a separate case in contemporary production of memes.
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Laurent, Natacha, and Victoria E. Bonnell. "Iconography of Power. Soviet Political Posters under Lenin and Stalin." Le Mouvement social, no. 196 (July 2001): 173. http://dx.doi.org/10.2307/3779641.

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7

AULICH, J. "Iconography of Power: Soviet Political Posters under Lenin and Stalin." Journal of Design History 11, no. 4 (January 1, 1998): 345–47. http://dx.doi.org/10.1093/jdh/11.4.345.

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8

Wood, Elizabeth A., and Victoria E. Bonnell. "Iconography of Power: Soviet Political Posters under Lenin and Stalin." American Historical Review 103, no. 5 (December 1998): 1656. http://dx.doi.org/10.2307/2650081.

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9

Fedosov, E. A., and E. S. Genina. "Globalization of the Internal Enemy Image in the Soviet Visual Propaganda during the Early Cold War (1946–1953)." Bulletin of Kemerovo State University 22, no. 4 (January 5, 2021): 952–62. http://dx.doi.org/10.21603/2078-8975-2020-22-4-952-962.

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The present research featured a generalized historical experience in the formation and development of a particular segment of Soviet propaganda during the early Cold War (1946–1953). The authors focused on the visual propaganda as a component of ideological impact. The study involved 240 propaganda posters and over 2,000 magazine and newspaper caricatures published in 1946–1953. The reconstruction of events was part of content analysis of the ideological and propaganda campaigns that the USSR waged as its confrontation with the West began to escalate. The concept of Soviet patriotism was the key idea in the state ideology. The analysis made it possible to specify some features of the symbolic language of visual propaganda. It also revealed the relationship between international and domestic political scenarios through certain varieties of the enemy image. The authors assessed the effectiveness of propaganda in terms of social and political attitude expressed by Soviet citizens. The authors revealed a complex of various means, which included official publications, posters, and cartoons and was used to influence the mass consciousness and form certain ideological attitudes.
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10

Fedosov, E. A., and E. S. Genina. "Globalization of the Internal Enemy Image in the Soviet Visual Propaganda during the Early Cold War (1946–1953)." Bulletin of Kemerovo State University 22, no. 4 (January 5, 2021): 952–62. http://dx.doi.org/10.21603/2078-8975-2020-22-4-952-962.

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The present research featured a generalized historical experience in the formation and development of a particular segment of Soviet propaganda during the early Cold War (1946–1953). The authors focused on the visual propaganda as a component of ideological impact. The study involved 240 propaganda posters and over 2,000 magazine and newspaper caricatures published in 1946–1953. The reconstruction of events was part of content analysis of the ideological and propaganda campaigns that the USSR waged as its confrontation with the West began to escalate. The concept of Soviet patriotism was the key idea in the state ideology. The analysis made it possible to specify some features of the symbolic language of visual propaganda. It also revealed the relationship between international and domestic political scenarios through certain varieties of the enemy image. The authors assessed the effectiveness of propaganda in terms of social and political attitude expressed by Soviet citizens. The authors revealed a complex of various means, which included official publications, posters, and cartoons and was used to influence the mass consciousness and form certain ideological attitudes.
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Books on the topic "Political posters, Soviet"

1

Mukhametshin, Boris. Anti-posters: Soviet icons in reverse. San Bernardino, CA: Xenos Books, 1987.

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2

Kolesnikova, L. E. "Okna TASS": 1941/1945 : oruzhie Pobedy. Moskva: Bratishka, 2005.

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3

Bonnell, Victoria E. Iconography of power: Soviet political posters under Lenin and Stalin. Berkeley: University of California Press, 1997.

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4

Gosudarstvennai︠a︡ biblioteka SSSR imeni V.I. Lenina. The Soviet political poster, 1917-1980: From the USSR Lenin Library collection. Harmondsworth, Middlesex, England: Penguin Books, 1988.

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1927-, Savosti︠u︡k Oleg, American Institute of Graphic Arts. San Diego Chapter, and La Jolla Museum of Contemporary Art, eds. Poster art of the Soviet Union: Plakatnai︠a︡ zhivopis SSSR. San Diego, Calif: The Chapter, 1990.

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Lenina, Gosudarstvennai͡a biblioteka SSSR imeni V. I. The Soviet political poster, 1917-1980: From the USSR Lenin Library collection. Harmondsworth, Middlesex, England: Penguin Books, 1985.

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" Okna TASS" 1941/1945: Oruzhie Pobedy. Moskva: Taktika, 2005.

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8

Gosudarstvennyĭ muzeĭ politicheskoĭ istorii Rossii (Saint Petersburg, Russia), ed. Katalog kollekt︠s︡ii avtorskogo plakata 1985-2000 godov: Iz fondov FGUK Gosudarstvennogo muzei︠a︡ politicheskoĭ istorii Rossii. Sankt-Peterburg: Gos. muzeĭ polit. istorii Rossii, 2004.

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9

Koretsky: The Soviet photo poster, 1930-1984. New York: The New Press, 2012.

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10

studio), "Agitplakat" (Art. Agitplakat: Katalog. Moskva: Sov. khudozhnik, 1986.

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Conference papers on the topic "Political posters, Soviet"

1

Bykova Tatyana, Tatyana. "Propaganda Posters In The Soviet Political Post-War Discourse." In WUT 2018 - IX International Conference “Word, Utterance, Text: Cognitive, Pragmatic and Cultural Aspects”. Cognitive-Crcs, 2018. http://dx.doi.org/10.15405/epsbs.2018.04.02.71.

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