“오크노-타스”(ОКНО-ТАСС)에 대한 도상학적 분석 -적의 이미지를 중심으로 (Iconographic Analysis on the “ОКНО-ТАСС” -Focused on the Enemy's Images)

서지정보

· 발행기관 : 역사학연구소
· 수록지 정보 : 역사연구 / 29호 / 95 ~ 126페이지
· 저자명 : 황동하

초록

This paper examines the verbal and visual elements of a Anti-German Propaganda “Okno-Tass” in Soviet Union during the Great Patriotic War, 1941~1945, from a iconographic point of view. The visual poster is considered as a multimodal text where meaning is created through a complex interaction between verbal and visual components. This article analyses the differentiation on space and the representation structure. The artists locate german soldiers and Hitler etc. on the canvas. The left is the space of death, defeat, the satanic World, and the evil－Hitler himself, while the right is for life, victory, the good－Soviet army. The upper sides is the victorious, good, sacred, ideal space, but the lower sides is the defeat, the evil, and the real space. The variety of presentation－the sentimental and the sardonic, the naturalistic and the expressionist, the obvious and the sophisticated, the laconic and the heroicmanaged to appeal to every taste and relieve the monotony of wartime privations.
The posters themselves are impressive and striking expressions of patriotic fervor and hatred of the enemy. Orchestrated to win over the hearts and minds of the Soviet population and galvanize them in the fight against the invading armies of Fascist Germany, they celebrated the heroism of the Soviet soldiers; used biting satire to pillory the enemy; fostered a hatred of the Germans and encouraged Soviet troops to greater efforts by depicting Nazi atrocities against women and children; responded to military events; and even acknowledged Soviet collaboration with the allies. Hitler and his henchmen are often shown as rather unpleasant animals—rats, snakes, or spiders. The subjects are harrowing and provide a visual history of one of the most terrible wars in history. Clearly, creative aspirations went hand in hand with the passionate commitment to the Soviet cause.

영어초록

This paper examines the verbal and visual elements of a Anti-German Propaganda “Okno-Tass” in Soviet Union during the Great Patriotic War, 1941~1945, from a iconographic point of view. The visual poster is considered as a multimodal text where meaning is created through a complex interaction between verbal and visual components. This article analyses the differentiation on space and the representation structure. The artists locate german soldiers and Hitler etc. on the canvas. The left is the space of death, defeat, the satanic World, and the evil－Hitler himself, while the right is for life, victory, the good－Soviet army. The upper sides is the victorious, good, sacred, ideal space, but the lower sides is the defeat, the evil, and the real space. The variety of presentation－the sentimental and the sardonic, the naturalistic and the expressionist, the obvious and the sophisticated, the laconic and the heroicmanaged to appeal to every taste and relieve the monotony of wartime privations.
The posters themselves are impressive and striking expressions of patriotic fervor and hatred of the enemy. Orchestrated to win over the hearts and minds of the Soviet population and galvanize them in the fight against the invading armies of Fascist Germany, they celebrated the heroism of the Soviet soldiers; used biting satire to pillory the enemy; fostered a hatred of the Germans and encouraged Soviet troops to greater efforts by depicting Nazi atrocities against women and children; responded to military events; and even acknowledged Soviet collaboration with the allies. Hitler and his henchmen are often shown as rather unpleasant animals—rats, snakes, or spiders. The subjects are harrowing and provide a visual history of one of the most terrible wars in history. Clearly, creative aspirations went hand in hand with the passionate commitment to the Soviet cause.

참고자료

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