Dissertação (Mestrado em Administração de Empresas) - Centro universitário FEI, São Paulo, 2013

In response to growing German propaganda during the First World War, the British Government formed a special Propaganda Department, which used visual art as a means of boosting up the morale of civilians and British soldiers on the Front. The War Artists‟ Scheme brought into being under the auspices of the Propaganda Department in 1914 allowed some of the most promising British artists to produce memorable paintings. The works documented the numerous sites of the Western and Eastern Front. In addition, the artists employed under the scheme presented the nation with portraits of notable military and political figures engaged in the war effort. This thesis investigates how William Orpen, an established society portraitist and A.R.A., fits into the War Artists‟ Scheme. His position was problematic: as a painter working in an early twentieth-century descriptive vein and older than other artists at the Front, how did he fare in this troubled context? Orpen‟s work on the Western Front (France and Flanders) has been so far neglected and considered to be of little relevance in comparison to what other avant-garde artists produced during the same time span. The thesis investigates how Orpen, although painting in an early twentieth-century representational style considered slightly passé, embedded in his works innovative means of expression, creating vivid, haunting imagery, adding to a body of work which was supposed to be documentary a depth reminiscent of ecclesiastic artistic practice. The thesis attempts to re-evaluate Orpen‟s war oeuvre, an aspect of the artist‟s rich imagery hitherto left to oblivion.

Diseñador Gráfico / El presente trabajo pretende servir como un real aporte a la disciplina, sentando las bases para desarrollar un sitio web políticoproselitista, que responda a los parámetros reales dados por el escenario actual en nuestro país. Para esto es necesario analizar el efecto social que ha producido la progresiva utilización del marketing aplicado a la política en Chile y de las nuevas posibilidades que Internet permite en el desarrollo de una campaña electoral, determinar los factores que han incidido en el cambio de la forma en que se enfrentan las campañas políticas actualmente, el rol que ha cumplido Internet como nuevo medio de propaganda electoral y su perfeccionamiento de uso en este ámbito. Si bien las posibilidades que ofrece Internet son casi ilimitadas, será necesario establecer cuales serán los parámetros concretos que se utilizarán para el desarrollo del sitio, determinar los elementos fundamentales, los innecesarios y los indeseados, desde la óptica del usuario, para poder diseñar una interfaz gráfica egonómica, acorde a las necesidades del electorado chileno. El objetivo general del proyecto es desarrollar una propuesta mediática de interactividad virtual, discursiva y persuasiva, para un candidato presidencial, estableciendo una jerarquía entre el discurso y argumento política, y su representación a través de una interfaz efectiva y de alta usabilidad, para los intereses del candidato asumido como referente, que para los efectos de este trabajo será la candidata de la Concertación, Sra. Michelle Bachelet Jeria.

This thesis analyzes the text, stage design, and historical context of Lothar Müthel's production of Aeschylus's Oresteia trilogy in 1936, which was sponsored by the National Socialist government during a broader publicity campaign during the Summer Olympics of 1936. The third play, Eumenides (Die Versöhnung in German) has democratic undertones, and therefore seems incompatible with Nazi ideology at first glance. There are three ways in which the Nazis made Müthel's adaptation of Die Versöhnung compatible. First, in the context of the Olympics, the Nazis attempted to draw a connection or relationship between modern German and ancient Greek culture, implying themselves to be successors to ancient Greece. Second, through Ulrich von Wilamowitz-Moellendorff's interpretations of the Greek word δίκη (justice), a central concept in the Oresteia, the Nazis were able to emphasize the progression of a state from a savage, chaotic period to a new, better civilization, an idea that particularly appeals to Nazi narrative owing to their own recent history with the Weimar Republic. Third, the Nazis shifted focus from the institution of the Areopagus to the role of Athena and interpreted her to be a Germanic goddess. Müthel's adaptation is a good case study in how, through appropriation, a political movement can interpret a text to fit their ideology.

O presente trabalho debruça-se sobre as representações do Oriente na revista de propaganda colonial do Estado Novo O Mundo Português, publicada entre 1934 e 1947. De facto, procura-se demonstrar a forma como o Orientalismo se revelou um “instrumento” de grande utilidade para o regime, pela forma como “construiu” o Oriente de maneira a que este lhe legitimasse uma identidade e um destino imperial que se iria repercutir em África, assim como toda uma ideologia racista e preconceituosa, que “ficcionou” o oriental, foi veiculada de forma a ser demonstrada a superioridade civilizacional e cultural de Portugal face aos habitantes das suas colónias. Com efeito, se no primeiro capítulo se procura contextualizar e problematizar a questão do Orientalismo, procurando demonstrar que o conceito, para lá de instrumento de poder, definiu todo um estilo artístico e cultural – criando um “renascimento” no seio da sociedade europeia de finais de século XVIII. Porém, todo este “fascínio” oriental acabou em “desencanto” quando as grandes potências coloniais assumiram um imperialismo agressivo e expansivo, juntamente com uma ideologia racista. Em Portugal, como se procurou demonstrar, todo este fenómeno de ideias proveniente da descoberta das culturas orientais produziu um impacto menor no meio intelectual. No segundo capítulo trata-se de se demonstrar todo o antecedente místico que reveste o Oriente desde o momento da sua “perda”, como também se traçam as linhas gerais da ideologia e política salazarista. Perceber a dimensão do significado do Oriente enquanto “memória”, possibilitou uma melhor compreensão do porquê do seu “resgate” da História por parte do Estado Novo. [...]

Les travaux de thèse développe la longue histoire du cinéma chinois d'animation sur la période allant de 1920 à 1977, du début du 20e siècle jusqu'à la fin de la grande révolution culturelle prolétarienne. Le sujet de la thèse est : l’idéologie, la propagande et le cinéma chinois d’animation entre les années 20-70. La problématique s'oriente vers le cinéma chinois d'animation qui s'intègre dans la propagande, l'idéologie ainsi que la politique du pouvoir dans différentes époques, selon une évolution esthétique et artistique. Depuis les premières générations de cinéastes qui imprègnent la plus haute direction politique dans leurs créations cinématographiques. J'ai donc travaillé sur les différents chef d'oeuvres de chaque genre du cinéma chinois d'animation ainsi que sur les travaux de leurs créateurs.Les travaux de recherche ont été rédigés en trois chapitres selon une démarcation de l'histoire de la Chine, qui correspond aux moments historiques importants et aux situations sociales d'enjeux en Chine : la création embryonnaire du cinéma chinois d'animation entre les années 20 et 40 avec l'objectif de décrire le processus amenant la naissance de cinéma chinois d'animation ainsi que les premières fonctions qui en ont été faites, comme arme de propagande ainsi que servir l'idéologie du parti communiste impliqué dans l'animation chinoise pendant la guerre mondiale et la guerre civil. Durant cette période, il y eut plusieurs couts-métrages en noire et blanc qui furent réalisé et produits, y compris le premier long métrage noir et blanc La princesse à l'éventail de Fer en 1941.Après la seconde guerre mondiale, Le cinéma chinois d'animation a été soumis à la seule idéologie omniprésence en Chine - le maoïsme - durant les années 50 60 et 70. Il atteignit son apogée en accompagnement d'une forte création esthétique et artisanale d'une génération de cinéaste toujours irremplaçable aujourd'hui. Il y eut de nouveaux genres du cinéma chinois d'animation qui parurent : comme la première animation en couleur, le papier découpé, le lavis animé, le premier long métrage en couleur - le roi singe. Toutes les animations sont produites par le studio d'art de ShangHai. Malgré que Le Studio d'art de Shanghai devint alors l'usine de production des Gardes Rouges et que le cinéma d'animation chinois fut forcé d'arrêter en raison de la tempête sociale de la Grande Révolution Culturelle Prolétarienne.Les travaux de thèse se conclut sur la fin de la grande révolution culturelle, et du décès du président Mao, avec pour thème des sujets comme : la rééducation des intellectuelles, la bande des quatre, la propagande, l'idolâtrie et les images paradoxales avec dizaines de animations révolutionnaire reflétant la situation sociale de la Chine.J'ai achevé la dernière partie de la thèse avec les difficultés de travail, le mariage le congé maternité et les travaux. / The thesis work develops the long history of Chinese animated cinema over the period from 1920 to 1977, from the beginning of the 20th century until the end of the great proletarian cultural revolution. The subject of the thesis is: ideology, propaganda and animated Chinese cinema between the years 20-70. The problem is oriented towards the Chinese animated cinema which is integrated in the propaganda, the ideology as well as the politics of the power in different times, according to an aesthetic and artistic evolution. Since the first generations of filmmakers who permeate the highest political direction in their cinematographic creations. So I worked on the different masterpieces of each genre of Chinese animation and the work of their creators.The research was written in three parts according to a demarcation of the history of China, which corresponds to the important historical moments and societal stakes in China. : the embryonic creation of Chinese animated cinema between the 20s and the 40s with the aim of describing the process leading to the birth of animated Chinese cinema and the first functions that have been made, as a propaganda weapon as well as serve the ideology of the Communist Party involved in Chinese animation during World War and Civil War. During this period, there were several black-and-white feature films made and produced, including the first feature film, Black and White, The Iron Princess in 1941.After the second world war, the Chinese animated cinema was subjected to the only ideology omnipresence in China - Maoism - during the 50s and 70s. It reached its apogee in accompaniment of a strong aesthetic and artisanal creation of a generation of filmmakers still irreplaceable today. There were new genres of animated Chinese cinema that appeared: as the first color animation, the paper cut, the animated wash, the first full-length feature in color - the monkey king. All animations are produced by the SHANGHAI art studio. Although the Shanghai Art Studio then became the production factory of the Red Guards and the Chinese animation cinema was forced to stop because of the social storm of the Cultural Revolution.The thesis work concludes with the end of the great cultural revolution, and the death of President Mao, with topics such as: the rehabilitation of intellectuals, the gang of four, propaganda, idolatry and paradoxical images with dozens of revolutionary animations reflecting the social situation of China.I completed the last part of the thesis with the difficulties of work, marriage, maternity leave and work.

This thesis explores how domestic factions and authoritarian regimes in Japan and Korea in the period from the 1850s to 1970s appropriated the concept of “modernity” to gain normative superiority over their competitors. The appropriating entity revised the concept of modernity to suit its own worldview. Across the case studies, the propaganda of modernity created a hierarchy that privileged those who are “more modern,” encouraged martial masculinity, and attached itself to existing domestic norms, such as ethno- nationalism. Under authoritarian regimes, modernity helped justify the mobilization of capital, manpower, and other critical resources in the name of nation-building or defense. Many factions and demagogues may have initially used the concept of modernity for domestic gains, but using this narrative later devolved into foreign conquests and imperialist expansion, for otherwise, their call for modernization would have become an empty promise in the eyes of the masses. This paper examines five cases along these dimensions, namely the rise of reformist samurais in feudal-era Japan, the failure of Joseon Korea’s ruling regime to adopt modernity in a timely manner, Imperial Japan’s colonial practices in Korea and Manchuria, the ideological divergences among factions in Colonial Korea, and a South Korean dictator’s attempts to gain legitimacy following a coup d’etat. Each case follows how domestic factions or individuals were motivated by an inferiority complex and how they produced their own version of modernity that favored their ascendance.

This thesis focuses on a traditional form of fairy tale and its updates as an instrument of Nazi propaganda. The main object of this analysis is a fairy tale as a literary and didactic genre. The diploma thesis consists of a theoretical part and a practical part. The theoretical part introduces general signs of fairy tale genre and main principals of propaganda manipulation in modern history. The practical part focuses on a comparison of selected Grimm brothers 'fairy tales and movie processing of Nazi propaganda. Furthermore, the analysis focuses on didactic intensions, literary and film language and forms of manipulation in a movie as an instrument of propaganda.

The so called ‘Islamic State,’ an Islamic extremist organization which currently controls large swaths of territory in the Middle East, has attracted foreign fighters to its insurgency in tens of thousands. Until just recently, foreign fighters were not well researched or understood separately from local fighters. David Malet (2013) argues that insurgencies recruit foreign fighters by persuading them to defend a ‘common group’ against a threatening enemy. This ‘defensive mobilization,’ he believed, was critical to recruiting foreign fighters throughout history. After preliminary analysis, the Islamic State presented evidence contrary to this theory, and it seemed dubious that they would use defensive mobilization to recruit foreign fighters. By analyzing at Islamic State’s recruitment propaganda, this research found that the Islamic State did indeed break with Malet’s understanding of foreign fighters. Interestingly, the Islamic State instead invoked the religious duty to conquer on behalf of a legitimate religious state and restore Islamic dominion over the world. These findings may serve to increase our understanding of the Islamic State in general and will likely cause us to make adjustments in how we understand foreign fighter recruitment to other civil conflicts.

This study employs semiotic methods to identify the post-revolutionary roles of former Cuban President Fidel Castro in order to classify the transformations of his character portrayal over time. Informed by Goffman's framing theory as well as suggestions of agenda-setting and priming, this qualitative study analyzes 19 propaganda posters for communications of encoded messages. In this medium, the research explores thematic patterns of sociopolitical and sociocultural signs which add to the richness of Castro's appeal. In addition to providing a unique perspective on interrogating visual images, this study offers a better understanding of the influential power of professional design and the use of semiotics in political propaganda.