Red Aesthetics, Intermediality and the Use of Posters in Chinese Cinema after 1949

@article{HemelrykDonald2014RedAI,
  title={Red Aesthetics, Intermediality and the Use of Posters in Chinese Cinema after 1949},
  author={Stephanie Hemelryk Donald},
  journal={Asian Studies Review},
  year={2014},
  volume={38},
  pages={658 - 675}
}
Abstract This article focuses on the aesthetic and affective techniques of saturation through which posters legitimated the Party-State in Mao’s China by closing the gap between everyday experience and political ideology. Propaganda posters were designed to put into practice the principle of unity, as conceptualised by Mao Zedong. The argument posits that while the “poster” is normally a printed edition of a painting or design intended for mass distribution in this way, the term may fairly be… 
1 Citations
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