Propaganda Art In The 21st Century

How to understand propaganda art in the post-truth era—and how to create a new kind of emancipatory propaganda art. Propaganda art—whether a depiction of joyous workers in the style of socialist realism or a film directed by Steve Bannon—delivers a message. But, as Jonas Staal argues in this illuminating and timely book, propaganda does not merely make a political point; it aims to construct reality itself. Political regimes have shaped our world according to their interests and ideology; today, popular mass movements push back by constructing other worlds with their own propagandas. In Propaganda Art in the 21st Century, Staal offers an essential guide for understanding propaganda art in the post-truth era. Staal shows that propaganda is not a relic of a totalitarian past but occurs today even in liberal democracies. He considers different historical forms of propaganda art, from avant-garde to totalitarian and modernist, and he investigates the us versus them dichotomy promoted in War on Terror propaganda art—describing, among other things, a fictional scenario from the Department of Homeland Security, acted out in real time, and military training via videogame. He discusses artistic and cultural productions developed by such popular mass movements of the twenty-first century as the Occupy, activism by and in support of undocumented migrants and refugees, and struggles for liberation in such countries as Mali and Syria. Staal, both a scholar of propaganda and a self-described propaganda artist, proposes a new model of emancipatory propaganda art—one that acknowledges the relation between art and power and takes both an aesthetic and a political position in the practice of world-making.

As Philip Taylor has written, 'The challenge (of the modern information age) is to ensure that no single propaganda source gains monopoly over the information and images that shape our thoughts. If this happens, the war propagandists will be back in business again.' Propaganda came of age in the Twentieth Century. The development of mass- and multi-media offered a fertile ground for propaganda while global conflict provided the impetus needed for its growth. Propaganda has however become a portmanteau word, which can be interpreted in a number of different ways. What are the characteristic features of propaganda, and how can it be defined? The distinguished contributors to this book trace the development of techniques of 'opinion management' from the First World War to the current conflict in Afghanistan. They reveal how state leaders and spin-doctors operating at the behest of the state, sought to shape popular attitudes - at home and overseas - endeavouring to harness new media with the objective of winning hearts and minds. The book provides compelling evidence of how the study and practice of propaganda today is shaped by its history.

This is the first book to analyze how the technology to alter images and rapidly distribute them can be used for propaganda and to support deception operations. In the past, propagandists and those seeking to conduct deception operations used crude methods to alter images of real people, events and objects, which could usually be detected relatively easily. Today, however, computers allow propagandists to create any imaginable image, still or moving, with appropriate accompanying audio. Furthermore, it is becoming extremely difficult to detect that an image has been manipulated, and the Internet, television and global media make it possible to disseminate altered images around the world almost instantaneously. Given that the United States is the sole superpower, few, if any, adversaries will attempt to fight the US military conventionally on the battlefield. Therefore, adversaries will use propaganda and deception, especially altered images, in an attempt to level the battlefield or to win a war against the United States without even having to fight militarily. Propaganda and Information Warfare in the 21st Century will be of great interest to students of information war, propaganda, public diplomacy and security studies in general.

An exploration of Star Wars universe history through stunning propaganda-style artworks tied to some of the films. A Star Wars authority deepens and extends our appreciation of the Star Wars galaxy with this imaginative “history” featuring striking full-color artwork—created exclusively for this entertaining volume—that examines the persuasive messages used to intimidate and inspire the citizenry of the galaxy far, far away. . . . A Star Destroyer hovering over a planet, symbolizing Imperial domination. An X-wing delivering a message of resistance and hope on behalf of the Rebellion. A line of armed, faceless First Order stormtroopers promoting unity. These are all examples of propaganda used by the Empire to advocate strength and maintain fear, and by the Rebel Alliance to inspire hope and win support for the fight. Star Wars Propaganda takes fans into the beloved epic story as never before, bringing the battle between these two sides to life in a fresh and brilliant way. Star Wars Propaganda includes fifty dazzling pieces of art representing all seven episodes—including material related to Star Wars: The Force Awakens—specially produced for this companion volume. Each page combines an original image and a short description detailing its “history”: the in-world “artist” who created it (either willingly or through coercion), where in the Star Wars galaxy it appeared, and why that particular location was targeted. Written by a franchise expert and insider, Star Wars Propaganda is sure to become a keepsake for every fan and graphic artist as well. Praise for Star Wars Propaganda “A galactic history lesson, offering even the most devoted fans a deep dive into corners of the George Lucas films they may not have known. The artwork of ‘Propaganda’ is stellar.” —Wall Street Journal

Disinformation has recently become a salient issue, not just for researchers but for the media, politicians, and the general public as well. Changing circumstances are a challenge for system and societal resilience; disinformation is also a challenge for governments, civil society, and individuals. Thus, this book focuses on the post-truth era and the online environment, which has changed both the ways and forms in which disinformation is presented and spread. The volume is dedicated to the complex processes of understanding the mechanisms and effects of online propaganda and disinformation, its detection and reactions to it in the European context. It focuses on questions and dilemmas from political science, security studies, IT, and law disciplines with the aim to protect society and build resilience against online propaganda and disinformation in the post-truth era.

One of the common features of communist regimes is the use of art for revolutionary means. Posters in particular have served as beacons of propaganda--vehicles of coercion, instruction, censure and debate--in every communist nation. They have promoted the authority of state and revolution, but have also been used as an effective means of protest. By their nature, posters are ephemeral, tied to time and place, but many have had far-reaching, long-lasting impact. They are imbued with both artistic integrity and personal conviction--Bolshevik posters, for example, are among the most vibrant, passionate graphics in art history. This is the first truly global survey of the history and variety of communist poster art. Each chapter is written by an expert in the field, and examines a different region of the world: Russia, China, Mongolia, Eastern Europe, North Korea, Vietnam and Cuba. This beautifully illustrated, comprehensive survey examines the broad range of political and visual cultures of communist posters, and will appeal to a wide audience interested in art, history and politics.

This volume focuses on the uses and abuses of art as propaganda in the 20th century, but starts by setting the scene using precedents from the past. It then explores protest art to 1939, including Social Realism and its links with communism and the left wing, Dada, artists' reactions to the Spanish Civil War, culminating in Guernica and Picasso's portrait of Stalin, and the mural movement in Mexico and the US. It discusses propaganda in the communist state - agit'prop and Stalin's Socialist Realism, and in the fascist state, where the ceremonial architecture of Albert Speer rubbed shoulders with the neoclassicism of Sironi, with Teutonic myths of the medieval and a new view of the body as political metaphor. A look at the propaganda of war and the gathering momentum of nationalist art in the post-colonial period leads on to the protest art of recent years, dealing with the Vietnam War, feminism, AIDS and sexuality.