“大跃进”时期的宣传画与政治社会化

发布时间:2018-05-19 18:58

  本文选题:宣传画 + 大跃进 ; 参考:《南开大学》2011年硕士论文


【摘要】:20世纪初,宣传画作为一种艺术形式开始在中国流行。近代中国社会民族革命勃兴的特征,使宣传画在发展过程中被更多地注入政治色彩,并逐渐成为政治宣传的有效方式。1949年中华人民共和国成立后,中共为巩固政权,非常注重通过政治宣传来加强意识形态教育,宣传画作为其关键手段之一,从一个重要侧面呈现出中共推进政治社会化进程的特征。在经过对中国民族民间艺术的改造并吸收苏联宣传画的艺术特征,同时被“艺术为政治服务”的观念全面渗透后,宣传画在“大跃进”时期达到发展高潮。中共的“跃进”政策及其领导的一系列政治运动在这一时期的宣传画中都有极为夸张的表达,以中共意识形态为核心内容的政治文化通过这一通俗、简易、直观的视觉形式逐步渗入人们思想观念。与此同时,人们的审美观及价值观受到宣传画中造型设计及表达形式的强烈引导,思维及行为方式逐渐政治化。宣传画的创作理论及模式也在“大跃进”时期基本定型,并通过群众运动的方式在政治社会化过程中得到成功运用,且不断侵蚀到美术甚至其他艺术领域,是艺术政治化的集中体现。 随着政治运动势头的消退,宣传画迅速淡出历史,其艺术发展历程较其他艺术形式而言相对短暂,又因过度的政治色彩使其在艺术领域中身份尴尬。但对于中共的意识形态教育和政治宣传来说,它是非常重要的一部分,“大跃进”中其展现的内容和带来的社会效果是不可忽视的。宣传画的构图及形象塑造昭示出中共重塑意识形态的政治符号、重新进行身份认定,并以阶级分析的方法改写“人民大众”含义的政治意图;宣传画创作的大众化则展示了中共运用群众运动实现政治社会化的过程,其赋予民众以主人翁的使命感、责任感,民众的政治行为逐渐从对政策的敷衍转化为自身的自觉行动。由此可理解,“大跃进”中民众的盲目一致行为离不开体制性因素带来的思维及行为方式变异。中共在利用宣传画推进政治化的过程中,同其运用的其它方式一样超出了合理限度,致使当代中国政治社会化进程走向激进,中国民众也在相当长一段时期内保持着过度的政治热情。
[Abstract]:At the beginning of the 20 th century, posters became popular in China as an art form. The characteristics of the flourishing national revolution in modern Chinese society made propaganda paintings more political in their development, and gradually became an effective way of political propaganda. After the founding of the people's Republic of China in 1949, the Communist Party of China tried to consolidate political power. Great attention has been paid to strengthening ideological education through political propaganda. As one of its key means, posters show the characteristics of the CPC in promoting the process of political socialization from an important aspect. After transforming Chinese national folk art and absorbing the artistic characteristics of Soviet propaganda painting, and being fully infiltrated by the concept of "art for politics", the propaganda painting reached the climax of development in the period of "Great Leap forward". The "leap forward" policy of the Communist Party of China and a series of political movements led by it were all exaggerated in the propaganda paintings of this period. The political culture with the ideology of the Communist Party as its core was adopted in this popular and simple way. Visual form of visual infiltration of people's ideas. At the same time, people's aesthetic and values are strongly guided by the styling design and expression in posters, and their thinking and behavior are gradually politicized. The creative theories and models of posters were basically shaped during the "Great Leap forward" period, and they were successfully applied in the process of political socialization through mass movement, and continued to erode art and even other artistic fields. It is the concentrated embodiment of art politicization. With the decline of the momentum of political movement, posters fade out of history quickly, its art development process is relatively short than other art forms, but also because of excessive political color in the field of art identity embarrassment. However, it is a very important part of the ideological education and political propaganda of the Communist Party of China. The contents and social effects of the Great Leap forward can not be ignored. The composition and image of the poster show the political symbol of remolding ideology of the Communist Party of China, reconfirm the identity, and rewrite the political intention of the meaning of "the masses of the people" by the method of class analysis. The popularization of posters shows the process of realizing political socialization by mass movement, which endows the people with a sense of mission, responsibility and political behavior of the masses gradually from perfunctory to self-conscious action. It can be understood that the blind consistent behavior of the people in the Great Leap forward can not be separated from the variation of thinking and behavior caused by institutional factors. In the process of using posters to promote politicization, the CPC, like the other ways it used, exceeded the reasonable limit, leading to the radicalization of the process of political socialization in contemporary China. Chinese people have also maintained excessive political enthusiasm for quite a long time.
【学位授予单位】:南开大学
【学位级别】:硕士
【学位授予年份】:2011
【分类号】:K27

【参考文献】

相关期刊论文 前10条

1 耿杉;;回顾革命现实主义与革命浪漫主义相结合的文艺指导思想[J];长城;2010年06期

2 刘志翼;周楠;;浅谈大跃进壁画运动与美术教育“浮夸风”[J];时代教育(教育教学版);2008年05期

3 姜兰花;;视觉与说服的统一体——中国政治宣传画传播艺术论[J];东南传播;2009年03期

4 吴继金;;八路军的反战宣传画[J];党史博览;2010年05期

5 王旭东;;论中国传统民间年画的审美观[J];中国科教创新导刊;2010年05期

6 王立源;;文革宣传画的视觉符号分析[J];长治学院学报;2010年03期

7 罗长春;;延安时期讽刺漫画的转向[J];江苏大学学报(社会科学版);2008年01期

8 ;万象更新[J];w,

本文编号:1911261


资料下载
论文发表

本文链接:https://www.wllwen.com/shekelunwen/zgjxds/1911261.html


Copyright(c)文论论文网All Rights Reserved | 网站地图 |

版权申明:资料由用户c5fbe***提供,本站仅收录摘要或目录,作者需要删除请E-mail邮箱bigeng88@qq.com