Propaganda Posters and their Cultural Impact: A Comparative Analysis Between the People’s Republic of China & the Soviet Union

For my research project I aim to focus on the cultural impacts that propaganda posters create and sustain in both the People’s Republic of China and the Soviet Union. I plan to focus primarily on the ‘cults’ associated with each state, conducting a comparative analysis between the two to demonstrate the vast similarities, while simultaneously noting the differences between the two. As such, my primary focus will be on the span of time when Mao Zedong and Joseph Stalin were the respective leaders of these nation-states. Within this particular short essay I aim to focus primarily on China, as if I were to discuss both China and the Soviet Union in depth I would likely spill over the word limit by a large margin.

China, during Mao’s reign as the Chairman of the People’s Republic, suffered significant economic and social catastrophes. As a result, the communist party needed ways in which to appease the public, or at least pacify them during these calamities. One of the solutions Mao and his party devised was an intense political campaign focused around the idea of class struggle. A particular quote from Mao which helps to demonstrate this was “‘never forget class struggle’” (Young, 40). By focusing upon this class struggle, Mao and his cohorts were able to effectively shift malice for their failing state away from themselves, and redirect it towards capitalists (Young, 43-44). By pumping propaganda posters out that stressed the idea of class struggle and the glorification of the proletariat, citizens were less likely to question the continuous state of revolution that was harming their state and themselves (in particular, the Cultural Revolution). 

Propaganda in China also played a major role in sustaining Mao’s cult of personality (a cult of personality being a regime that uses a variety of techniques to create an idealized image of their leader, allowing for facile manipulation of the public). By using propaganda to facilitate this cult (and other social engineering techniques that I will discuss in greater detail in my final project), Mao was elevated to an almost god-like status. This obviously was problematic for a plethora of reasons, but with the most prevalent being the refusal of anyone to question his authority, even on matters that others possess far superior knowledge (Buruma, “Cult of Mao Zedong”). This in turn helped to facilitate the various economic and social catastrophes during Mao’s rule. Unsurprisingly, Mao actually adopted much of his political ideologies from Stalin, whom he met with numerous times. As such, it is rather important to examine the Soviet Union when analyzing the People’s Republic, as they are quite similar (yet also different) in many regards. 

Within my final project I aim to include: a poster by Dadao Ribendiguozhuy that stresses the “evil” nature of capitalists, a poster by Ha Qiongwen that was widely criticized by the Communist Party for not depicting Chairman Mao and instead depicted a proletariat woman and child, and a poster by Naum Karpovsky that demonstrates the cult of personality in the Soviet Union. Obviously I need more political posters to reach the requirement of five, however as of right now I aim to gather more information regarding my thesis/theme before I determine which posters I will include (in the chance I discover some information I wish to represent along with a visual). 

 

Works Cited

Young, Graham. “Mao Zedong and the Class Struggle in Socialist Society.” The Australian Journal of 

Chinese Affairs, no. 16, 1986, pp. 41–80.

 

Buruma, Ian. “Cult of Mao Zedong.” The Guardian, Guardian News and Media, 7 Mar. 2001, 

www.theguardian.com/world/2001/mar/07/china.features11.

 

Webpage Blogpost

For this blogpost I decided to examine the International Institute of Social History’s presentation on political posters found within the People’s Republic of China (PRC). I decided to select this particular site for this blogpost as I feel the site provides some basic background regarding the PRC political posters that I was missing previously. In particular, I feel the information provided within the first 4-5 pages will be essential to my project. I also plan to use some of the propaganda presented within this presentation as part of my final project, although most of the posters will be coming from other sources I’ve already found. In summation, this source will help layout a solid base to then build upon. 

 

http://www.iisg.nl/publications/chineseposters.pdf

Political Posters in Mao’s China

For this blogpost I elected to write regarding a political poster painted by Ha Qiongwen, titled “Long Live Chairman Mao!” In order to fully understand this political poster, somebackground regarding the era in which it was painted may be helpful. In 1949, China ushered in a new era of government which was led by the Communist Party of China and Chairman Mao;the de facto leader of China until his death in 1976 (Yaochang 2014: 290). Mao was a selfprescribed Leninist (at least until he began developing his own theory of rule) and felt that
literature and art should an integral part of the proletariats enterprise. Essentially, this meant thatMao aimed to use the majority of literature and art being composed in China at the time tofurther his political agenda. With a large portion of the people in China during this time being illiterate, Mao needed to convey his political content in a way that people would be able tounderstand with little to no education. As such, Mao made a speech after his election in 1949 that set Socialist Realism as the “…official theory and method of artistic and literary composition…” in China during his reign (Yaochang 2014: 290-291). This declaration somewhat restricted what artists and writers could publish during this period, as if the Communist Party of China deemed awork to be ‘inadequate’, the work would not be published/allowed for distribution.

When examining the poster I selected, one will see a young child and her mother playing in what appears to be cherry blossoms, with the text “Long Live Chairman Mao!” at the top. When first published this poster was revered by the CPC, however once the Cultural Revolution
started this was not the case. Upon further inspection, one will notice that the woman holding the child is wearing rather nice clothing, suggesting she is a member of the bourgeois and not the proletariat. Further, no physical depiction of Mao is present, which became more and more essential to the CPC as Mao engrained himself into all aspects of Chinese society. Qiongwen became an object of criticism during the Cultural Revolution, and was publicly humiliated and beaten on numerous occasions due to his slight deviation from the CPC’s standard (Shen 2000: 192).

Bibliography:

Poster and Historical Background

Yaochang, Pan. “The Posters of the Mao Era: A Perspective of Art and Society.” Artibus et Historiae, vol. 35, no. 69, IRSA, Jan. 2014, pp. 289–304.

Personal Information Regarding Ha Qiongwen

Shen, Kuiyi. “Publishing Posters Before the Cultural Revolution.” Modern Chinese Literature and Culture, vol. 12, no. 2, 2000, pp. 177–202. JSTOR, www.jstor.org/stable/41490832. Accessed 17 Apr. 2020.

Blogpost 4/17

Political Posters- Robert Cohen

For my project, I’ve elected to focus on various political posters, rather than a singular artist. The majority of the posters I will focus on will be from the Zedong period (1949-1978). I might delve into some posters shortly after the first economic reform (1978), but this would primarily just act to demonstrate the contrast between posters while under Mao and then Deng (Chow 2015).

In general, the style for these posters fall under the “western” category, which is somewhat ironic considering the aims of the Communist Party of China (which I aim to examine in my presentation). Some particular events that sparked these political posters; end of Chinese Civil War, Great Leap Forward, Cultural Revolution, and Tiananmen Square protests (this last one I might exclude). All of these events have significant political and cultural ramifications, helping to explain why artists of the time decided to voice their opinions after these events specifically.

For my image, I included a political poster from the Huntington Archive, which had an online exhibit titled “Picturing Power” that revolved solely around Chinese political posters (particularly the Mao era). This poster is titled “New Spring in Yan’an” and helps to further Mao’s goal of deification, as he is surrounded by the people in quite a nationalist style.

https://huntingtonarchive.org/Exhibitions/picturingPowerExhibit.php

Chow, Gregory C. China’s Economic Transformation. Wiley Blackwell, 2015.

Robert Cohen- Intro

Hello, my name is Robert Cohen and I am a current junior with a poli sci major. Last term I took an econ course focused solely on the Chinese economy and found it to be rather interesting, although there was little cultural aspects discussed. As such, I decided to take this class in the hopes that I will be able to learn more regarding the art and culture of China (traditional and communist eras being my primary interest). I have yet to take an art history course at Union, so this course will also allow me to explore this field while also allowing me to remain somewhat within my discipline of political science. This course also stuck out to me due to the historical nature of it, as I’d much prefer to learn the history of paintings, rather than trying to mimic them (as I had to do in high-school art class).