Client’s Name Class Date Similarities and Differences between Nazi Germany and Soviet Union Poster Propaganda in the Twentieth Century The purpose of propaganda is to incite emotions that motivate opinions and support for actions taken by a government towards a specific goal or outcome…
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Both the Soviet Union and Germany used propaganda posters to incite their citizens to support the cause of their nations during World War II. In comparing their posters, it is clear that the use of fear was one way in which to incite an emotional response towards the causes that the posters represented. The Soviet Union defined their enemy as outside of the nation, while the Nazis created internal threats through providing images that placed Jewish people in a context with invented threats to diminish their humanity. Differences are also evident in the styles and methods with which the posters were created. Through an examination of Soviet and Nazi propaganda posters of World War II, the styles of the work and the identification of threats can be contrasted for differences and similarities. Jowett and O’Donnell write that “there was little appreciation of the specific social and political conditions that had made World War I propaganda so effective” (228). The nature of propaganda is to influence, but in order to create effective influence, the imagery and text had to connect to the social conscious of the viewers. An example of a poster that did not connect to the social conscious that was considered brilliant for its intentions and artistry, but was declined by the Soviet Union government was that of El Lissitzky’s “Beat the Whites with the Red Wedge” (1919) (see Figure 1). ...
Figure 1 Beat the Whites with the Red Wedge (1919) El Lissitzky (Wikipedia) Socialist realism existed “with its reliance on simple classical styles and photographically accurate forms in a modern context, its demand of realism, its glorification of socialist ideals and achievements, and its anticipation of a utopian communist society” (Frucht 260). The active campaign to produce posters that reflected the desires of the government in order to align the views of the people was done through the TASS studio which adapted the style of the ROSTA posters which were stenciled. Different from the traditions of the ROSTA posters, however, was the desire to create fine art while creating important cultural messages. Where the ROSTA used iconic images that were generally graphic, The TASS studio employed the use of realist paintings as models for the work (Zegers, Druick and Akinsha np). As shown in the work of Figure 2 The Motherland will Never Forget the Heroic Deeds of its Sons (1947) Viktor Koretsky (David Winter Bell Gallery) Viktor Koretsky, the warmth of the colors and the power of the imagery evoke the national emotions towards their sons and to a pride based in their sacrifices as they give of themselves to a belief system (David Winter Bell Gallery). The posters provide a reason for the losses that they were experiencing, placing meaning with what they have given (see Figure 2). The works were bold with their use of color and just as bold in their use of fear that asserted the concept of killing Germans with a sense of pride and national presence As exampled in the work Death to the German Murderers, the works revealed a sense
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