|Transcultural Flows in Visual Propaganda|
| Influenced by Bauhaus aesthetics, trends of New Vision and German photojournalism, Japanese photographers and designers in the company Nippon Kōbō produced foreign propaganda journals during the 15-Years-War. NIPPON’s use of Bauhaus techniques in its visual layout illustrates transcultural flows in visual propaganda and raises questions of the relationship of aesthetic form and socio-ideological function. Furthermore, six years after NIPPON’s inauguration, the German illustrated propaganda magazine SIGNAL (1940-1945) embarked on the same kind of foreign propaganda as NIPPON and became the most successful periodical in Europe at the time|
Aim: The aim of this project has been to situate Japanese propaganda within transcultural flows of visual technologies and trends.
Resources: I acquired the illustrated magazine SIGNAL (1940-1945) and other related material that allowed me to compare and examine differences and similarities in German and Japanese visual propaganda.
1) I was able to finish one referred journal article that discusses transcultural influences and the issues of ethics, aesthetic form and socio-ideological function in the making of the magazine NIPPON: Andrea Germer (2012): “Artists and Wartime Agency: Natori Yōnosuke – A Japanese Riefenstahl?” Contemporary Japan 24, 1 (April ), pp. 21-50. http://www.dijtokyo.org/publications/contemporary_japan24_1
2) I presented my paper “Transcultural Flows in Visual Propaganda” in which I also discussed the significance of SIGNAL at the Association of Asian Studies Conference in Toronto 14-18 March 2012. Travel assistance to the Conference also was received from 財団法人九州大学後援会 (15万円) that covered most of the basic travel costs.
3) The acquisition of SIGNAL and other related material allows me to continue research on the book project
‘Visual Propaganda in Wartime Japan and Germany”.