Image analysis #4

This image of Obama is interesting because of it's visual style. This style is reminiscent of old Soviet propaganda, with it's bold color choices and graphic presentation. I believe it was meant to evoke revolutionary imagery akin to that used by the Bolsheviks and the Soviet Union, although the ideology differs. Obama's visage is thoughtful and stoic, his gaze aimed upwards in accordance with the one word in the image, HOPE. This graphic style has been used to great effect in the past, yet still feels contemporary compared to typical political imagery in America.

The interesting side-effect of this stylistic choice plays into the stereotypically Right-wing habit of comparing Left-wing Americans to Communists. By using this type of image to portray the Democratic presidential nominee, the artist may have inadvertently strengthened that conviction. Granted it would take more than this image to make a case for such a claim, but the varying reactions I've read have included those kinds of rash allegations, brought on primarily by the visual style.

Gunga Din

I enjoyed Gunga Din overall. It was well-produced and enjoyable, even now after nearly 70 years since its release. It follows the adventures of three British soldiers in occupied India and how eventually, them and the entire army are saved by the actions of Gunga Din. Gunga Din is a water-carrier for the army who longs to be a soldier and in the end, he reached that goal (although post-humously). Interestingly, Gunga Din is not a prominent part of the story for most of the film. It focuses specifically on the three soldiers and Gunga Din is really more of a supporting character.

The orientalism in the film is notable, as there is a sharp division between the portrayal of the British and the Indians. Europeans are portrayed as strong, forthright and honrable, while oriental peoples are depicted as weak, scheming, murderous, and brain-washed. It's this strong slant in favor of the British tha makes the film so prominent in a propagandist sense.

As an aside, I got a feel for the importance of this movie while watching the special features on the Iron Man DVD. One of the production crew was talking about how one of their locations was the same as that of Gunga Din. That alone wouldn't be a big deal, but he said with an almost reverent tone. Maybe it's just me, but I got the sense that this movie is one that film buffs hold in reasonably high regard.

Image analysis #3

This is an interesting bit of Israeli propaganda that, because of its style and type of message, feels like a throwback to older styles of propaganda. The image is clear, despite the foreign text: Israeli soldiers protect women and children, while Palestinian fighters hide behind them. It's meant to demonize them and attack their honor. The visual techniques used in this image are classic: the Israeli soldier stands upright, legs spread in a powerful pose, looking down at the Palestinian. His protective pose is further reinforced by his outstretched arm, guarding the woman and child from the enemy. This is contrasted by the Palestinian fighter--he is deliberately portrayed as a non-uniformed rogue--who crouches in a weaker pose behind a woman and child.

This type of blatant demonization of the enemy is something that Americans rarely see in propaganda these days, which is why seeing a modern poster with this portrayal is almost nostalgic, reminiscent of World War and Cold War propaganda, as opposed to the more subtle methods used today. Yet the message wold be quite poignant and contemporary for a nation such as Israel, being so close to a longtime enemy. The verity of what's depicted in this type of image is secondary to the role it plays in strengthening the resolve of a war-torn nation.

Image analysis #2

Images such as these were prominent during the 2008 Summer Olympics in Beijing. Their main purpose was to put pressure on the Chinese government and raise awareness about the issues of Tibet. This image capitalizes on the imagery of the Olympics, specifically the five rings of the Olympic logo. The serrated appearance of the rings lends a sinister air to the visual, while the clenched fists breaking the chain of rings evokes the imagery of breaking the chains of servitude. A simple message, the only propaganda technique used prominently in this image is name-calling or a variation thereof. The imagery of the Olympic rings is linked to the metaphorical chains of Tibet's subservience. The Olympic imagery, so important to China at the time, is subverted in order to call them out on the issue of Tibet.

Something interesting about the "Free Tibet" campaign is its almost pop culture significance at this point. What started as a serious push to remove China from Tibet has become a cultural mainstay; a generic convention of liberal college students. Its impact, I feel, has been lessened over time and is due for some modern revision, both in message and imagery. Unfortunately, making real progress on the issue of Tibet requires taking on the behemoth that is China. There is no solution to the problem that does not involve some heavy inquiry into China's practices and therefore no solution that does not require a greater national interest in taking on China diplomatically. With American interests split between serious domestic and political issues, and foreign affairs that have yet to be resolved, a national push in support of Tibet any time soon is unlikely.

Image analysis #1

This image is one that is apparently seen all over Cuba, as recently as 2005. This is a rather simple propaganda image that uses two primary techniques: glittering generality and transfer. The glittering generality is the bold declaration, "Vamos Bien," which means "it's going well." This statement is vague and is not accompanied by any images or information that support what is said. The only image is that of an aging Fidel Castro, which brings us to the transfer technique. This technique generally uses the words or images of famous people to support the message, and in this case, the image of Castro is used. It lends no rational credence to the message of the sign, but it nevertheless appeals to those who support him as a leader.