In this new atmosphere of freedom, Russia’s satirical magazine Krokodil (The Crocodile) became rejuvenated. John Etty explores Soviet graphic satire through Krokodil and its political cartoons.
Author: John Etty
Publisher: Univ. Press of Mississippi
After the death of Joseph Stalin, Soviet-era Russia experienced a flourishing artistic movement due to relaxed censorship and new economic growth. In this new atmosphere of freedom, Russia's satirical magazine Krokodil (The Crocodile) became rejuvenated. John Etty explores Soviet graphic satire through Krokodil and its political cartoons. He investigates the forms, production, consumption, and functions of Krokodil, focusing on the period from 1954 to 1964. Krokodil remained the longest-serving and most important satirical journal in the Soviet Union, unique in producing state-sanctioned graphic satirical comment on Soviet and international affairs for over seventy years. Etty's analysis of Krokodil extends and enhances our understanding of Soviet graphic satire beyond state-sponsored propaganda. For most of its life, Krokodil consisted of a sixteen-page satirical magazine comprising a range of cartoons, photographs, and verbal texts. Authored by professional and nonprofessional contributors and published by Pravda in Moscow, it produced state-sanctioned satirical comment on Soviet and international affairs from 1922 onward. Soviet citizens and scholars of the USSR recognized Krokodil as the most significant, influential source of Soviet graphic satire. Indeed, the magazine enjoyed an international reputation, and many Americans and Western Europeans, regardless of political affiliation, found the images pointed and witty. Astoundingly, the magazine outlived the USSR but until now has received little scholarly attention.
For the role of propaganda in World War II, consult Karel Berkhoff, Motherland in
Danger: Soviet Propaganda during ... in the postwar USSR, and John Etty's
Graphic Satire in the Soviet Union analyzes Krokodil during the Khrushchev era.
Author: Aga Skrodzka
Publisher: Oxford University Press, USA
Stereotypes often cast communism as a defunct, bankrupt ideology and a relic of the distant past. However, recent political movements like Europe's anti-austerity protests, the Arab Spring, and Occupy Wall Street suggest that communism is still very much relevant and may even hold the key to a new, idealized future. In The Oxford Handbook of Communist Visual Cultures, contributors trace the legacies of communist ideology in visual culture, from buildings and monuments, murals and sculpture, to recycling campaigns and wall newspapers, all of which work to make communism's ideas and values material. Contributors work to resist the widespread demonization of communism, demystifying its ideals and suggesting that it has visually shaped the modern world in undeniable and complex ways. Together, contributors answer curcial questions like: What can be salvaged and reused from past communist experiments? How has communism impacted the cultures of late capitalism? And how have histories of communism left behind visual traces of potential utopias? An interdisciplinary look at the cultural currency of communism today, The Oxford Handbook of Communist Visual Cultures demonstrates the value of revisiting the practices of the past to form a better vision of the future.
See Leningrad, Soviet Union Saints, 76, 77–78, 81–86, 87 Samandal, 207,210,
223n29 Sarajevo, Bosnia and Herzegovina, 62, 63–65, 66–67; as character, 59,
67,68–70 Sarajevo Tango, 62–63 satire, 221 Scuzzo, 173 Second Intifada, 146, ...
Author: Tatiana Prorokova
Publisher: Rutgers University Press
Cultures of War in Graphic Novels examines the representation of small-scale and often less acknowledged conflicts from around the world and throughout history. The contributors look at an array of graphic novels about conflicts such as the Boxer Rebellion (1899-1901), the Irish struggle for national independence (1916-1998), the Falkland War (1982), the Bosnian War (1992-1995), the Rwandan genocide (1994), the Israel-Lebanon War (2006), and the War on Terror (2001-). The book explores the multi-layered relation between the graphic novel as a popular medium and war as a pivotal recurring experience in human history. The focus on largely overlooked small-scale conflicts contributes not only to advance our understanding of graphic novels about war and the cultural aspects of war as reflected in graphic novels, but also our sense of the early twenty-first century, in which popular media and limited conflicts have become closely interrelated.
There is an abundance of graphic revolutionary and propaganda imagery , much
Stalin ' iconography ' , as well as some ... Soviet satirical painter called Pyotr
Belov , whose work one of our researchers stumbled across in the Soviet Union ,
Author: Douglas Merritt
This book explains the role of the graphic designer in making broadcast programmes and on-screen publicity, together with their contribution to art direction and graphic design in TV commercials, supported by case studies of student and professional work. There is a maze of technical production methods available, both old and new, but there is very little literature to describe them or to explain how TV designers organise, understand and employ them. This book offers a sound introduction to the subject with a 32 page colour plate section including many examples of contemporary designers' work. Includes case studies of professional and student work to apply the information with in the book Learn from the extensive experiance of the former Head of TV Graphics at Thames TV Detailed descriptions of current equipment bring you up-to-date