Images of the Coming Storm?
2010-02-17 18:15:49.601186+00 by
petronius
3 comments
I'm always a little leery of commentary that claims that artistic efforts in some country presage future horrors, like Dr. Caligari being a predictor of coming Naziism. Styles and fashions get absorbed by the ruling clique and their propoganda, and vice versa. I once saw an interview with Hitchcock where he told of doing some work in Germany in 1924 on a production of Die Nibulungen and he had the heros of Valhalla raising their arms in a salute to Siegfried. As he said, he didn't have any inside information. Even so, this collection of Japanese poster art from 1930 to 1941 does begin to take on a tinge of disquiet as the years progress. Some of the later ones, for example, feature the flags of their puppet states like Korea and Manchuria. Even so, some nice work here.
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comments in descending chronological order (reverse):
#Comment Re: made: 2010-02-18 13:38:35.336956+00 by:
andylyke
Gasp! When I clicked up the posters, the ad beside the first one was for
Progressive Insurance. The geeky cheery lady from Progressive was in a nearly
identical pose (left finger pointing up) as the figure in the poster. Does this
mean that Progressive Insurance will shortly bomb Pearl Harbor and take us all on
death marches??
#Comment Re: made: 2010-02-17 19:18:28.314049+00 by:
petronius
You're question about the tchnology is interesting. in the 2005 film The Lives of Others, East Germany is portrayed as a grey, cheerless place. I read that one reason everything is so drab is that the Ostis never developed the brighter dyestuffs that made the 60s so colorful, and they didn't have the hard currency to buy them. So is this the drabness of Bolshevism or an artifact of economics? And if they did have brighter colors would the Wall have fallen? I guess so, but stranger things have happened.
#Comment Re: made: 2010-02-17 19:03:31.068784+00 by:
Dan Lyke
Wow. The shift towards glorification of military hardware in that is kinda freaky.
And I'd love to know if it's possible to tease apart the notion of a design aesthetic from the printing processes that create the posters. How much was the propaganda imagery of the '30s formed by those printing technologies, and vice-versa.