Currently, I am pursuing my second master's degree in the Design and Environmental Analysis program at Cornell University. I invite you to join me in my world of design and photography utopia.
Linghao Li ｜李凌昊
MA Design in Human-Centered Design ‘24
MA Graphic Design and Visual Experience ‘22
BFA Visual Communication Design ‘16
Cornell University｜SCAD｜TAFA
+ 1 912-391-7213 | ll933@cornell.edu
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Building upon my foundation in design theory and art education, I have significantly broadened my research interests. During my time at Cornell University's Human-Centered Design Department, I had the privilege of systematically exploring Pluriversal Design under the guidance of Dr. Renata Leitão. Concurrently, I pursued a minor in Anthropology, mentored by Dr. Viranjini Munasinghe. This diverse academic experience, encompassing Cultural Anthropology, Visual Studies, History of Photography, and Design for Interaction, propelled me into the realm of interdisciplinary research and helped me define my unique research trajectory.
A pivotal moment in solidifying my academic direction came through my studies with Professor Andrew Moisey. His deep insights into visual studies and photography profoundly influenced my approach to understanding how visual culture shapes and reflects societal narratives. His mentorship has been instrumental in affirming my commitment to pursuing visual studies as the core of my future academic career.
Presently, my research focuses on the intersection of visual culture, design, art history, and anthropology. I am particularly fascinated by the history of photography and visual media in early 20th-century Northeast Asia, especially in relation to how these mediums influenced socio-political narratives during periods of colonization.
My passion for these topics drives my commitment to advancing knowledge in these areas. I invite you to explore more about my work and research interests in the following messages. This dedication fuels my pursuit of creating meaningful contributions to the understanding of visual culture and design in East Asia. Welcome to my academic journey.
- 23FA
- ARTH 6545 The PhotobookProf. A. Moisey
Mass media, particularly periodicals, played a crucial role in shaping public opinion during times of war, especially in reaching large, often illiterate populations. These periodicals relied heavily on images, simple messaging, and visual storytelling to effectively communicate with audiences who had limited literacy skills (Romanenko, 2010). Photomontage emerged as a significant graphic design element within these publications, blending artistic innovation with political intent by combining contrasting images to evoke specific emotional responses and reinforce propaganda narratives. FRONT was first released in 1942, during the height of Japan’s military expansion in World War II and within the broader context of the Greater East Asia Co-Prosperity Sphere, which was presented as a cooperative economic and cultural alliance aimed at liberating Asia from Western colonial rule, but in reality, served as a means for Japanese imperial dominance (Germer, 2015). This period saw Japan aggressively positioning itself as the leader of an anti-colonial movement in Asia, though in reality, its efforts were largely a guise for imperial dominance. The Japanese government, having seized control of most media by the early 1940s, utilized propaganda like FRONT to reinforce its political and military narratives (Mimura, 2011).
Photomontage was not only a tool for aesthetic expression but also a method to convey complex narratives through visual storytelling. The use of photomontage allowed designers to construct highly orchestrated images that manipulated reality, serving the dual purposes of both educating the public and promoting nationalistic or militaristic ideologies (Clark & Brown, 2022; Kriebel, 2007; Smith, 2019). Drawing on techniques pioneered by Soviet avant-garde artists and later adapted into the Socialist Realist style, photomontage in FRONT incorporated artistic strategies initially developed by Soviet publications. These techniques used dynamic compositions and juxtaposed images to elevate Japan's military strength and industrial achievements (Germer, 2015). This technical medium provided flexibility in visual propaganda, allowing for the manipulation of cultural perceptions and political beliefs by combining uplifting images with militaristic content, making it a cornerstone of wartime media during World War II.
Photomontage was not only a tool for aesthetic expression but also a method to convey complex narratives through visual storytelling. The use of photomontage allowed designers to construct highly orchestrated images that manipulated reality, serving the dual purposes of both educating the public and promoting nationalistic or militaristic ideologies (Clark & Brown, 2022; Kriebel, 2007; Smith, 2019). Drawing on techniques pioneered by Soviet avant-garde artists and later adapted into the Socialist Realist style, photomontage in FRONT incorporated artistic strategies initially developed by Soviet publications. These techniques used dynamic compositions and juxtaposed images to elevate Japan's military strength and industrial achievements (Germer, 2015). This technical medium provided flexibility in visual propaganda, allowing for the manipulation of cultural perceptions and political beliefs by combining uplifting images with militaristic content, making it a cornerstone of wartime media during World War II.
USSR in Construction was a graphic magazine that ran from 1930 to 1941, with a brief continuation in 1949, representing the notable artistic achievements of early Soviet Socialist Realism (Feldman, 2011). Originally edited by Maxim Gorky, the magazine was published thematically in Russian, English, German, French, and Spanish (from 1938 onwards). It was intended to showcase the enormous construction and industrialization achievements of the Soviet Union under Stalin's regime. It showcased the scientific, technological, and industrial advances of the Soviet people through large format pages and multi-page fold-outs. The magazine utilized the works of famous authors and photographic collages of renowned Soviet photojournalists to exemplify the pioneering art of the time (Nunan, 2010).
It is widely recognized that the main purpose of USSR in Construction was to introduce the Soviet Union to the international community, but from 1934 onwards, the importance of reading abroad declined, and the new Stalinist elite became the main readership of The Struggle of the Soviet Red Army, as reflected in the steady decline of the international edition. This view is partly supported by the total print run of the Russian edition, which far exceeded the total print run of the international edition, which meanwhile steadily declined (Germer, 2015). In the ten years of intermittent distribution of USSR in Construction, it has served as a mouthpiece for photojournalism, where constructivist photo montages were combined with socialist realist photography to continually create fantastical images of the USSR and promote Stalin's personality cult (Wolf, 1999).
The concept of the Greater East Asia Co-Prosperity Sphere was introduced in 1940 to mask Japan's quest for Asian hegemony. It was presented to the public as a cooperative economic and cultural alliance aimed at liberating Asia from Western colonial rule. The same year saw the rise of the New Order Movement (Shin taisei undō) in Japan, in which photojournalism, rather than traditional journalism, was expected to serve the national interest exclusively by portraying idealized images of national unity, military strength, and industrial progress (Germer, 2011). In the context of the era during Japan's so-called Fifteen Years' War (1931-1945), and in particular the final phase of the Total War (1941-1945), FRONT, a foreign propaganda magazine that drew on the design style of the USSR in Construction—such as the use of large-format pages, dynamic photomontages, and minimal text to emphasize visual storytelling—and focused on Photomontage, was produced and went to print the following year (1942). This Japanese magazine was an initiative of Tōhōsha (Far East Company), founded by Okada Sozo, a former journalist and media specialist, in 1941 specifically to launch "Front" (Germer, 2015).
FRONT was published in large format (42 cm x 28 cm) and printed in full-color gravure, which was notable for its exceptional print quality, large-scale imagery, and the use of advanced printing techniques that were rare in other magazines at the time. This was especially significant during the period when photographers and photojournalists came under the complete control of the government from 1940 onwards, with the establishment of the Cabinet Bureau of Information, and the Japanese government also exercised strict control over film, paper, printing, publishing, and distribution in 1941 (Fraser, 2011; Tucker, 2003). The first issue was a double issue (Nos. 1-2) with a print run of 69,000 copies, but the number of subsequent issues is unknown (Tagawa, 1988).
The success of USSR in Construction's foreign propaganda in the USSR influenced the Japanese military and a section of Japanese artists, and many of the designers and photographers involved in the production of FRONT had studied and lived in the USSR. It can be said that FRONT was the USSR in Construction of Asia: it was released in Japan, Northeast Asia, East Asia, and Southeast Asia, creating the fantasy image of the “Greater East Asia Co-Prosperity Sphere”. The Japanese military sought to emulate this propaganda approach (PrintMag, 2012), motivated by USSR in Construction's success in documenting and publicizing Soviet progress through photography, photo montages, and photo collages. Such progress evolved into a manipulated form of documentary photography that staged and created a fictionalization of Soviet success, such as depicting overly enthusiastic workers or exaggerated industrial outputs, creating a kind of “virtual reality” (Germer, 2015).
fig.1 The sample font selection, Data form Seiichi, Tagawa. (2000). 戦争のグラフィズム 「ＦＲＯＮＴ」を創った人々. Page 323, 平凡社.
However, by the last few issues, this number dwindled to only a few or only one other language (Tagawa, 1988) , which was influenced by Japan's defeat in the latter part of the Second World War, leading to a decline in available resources and a shift in priorities that reduced the diversity of languages used in FRONT (Seiichi, 2000). At the end of Japan's Fifteen Years' War, Northeast Asia was still under Japanese control, which was the core of the Greater East Asia Co-Prosperity Sphere. The effect of Japanese cultural colonial education in Northeast Asia, mainly in Manchukuo and the Korean Peninsula, was significant. The popularity of Japanese in the region increased, coupled with the long tradition of Chinese language use in the region (Reed Hall, 2003). This led to FRONT Magazine still choosing to focus on Chinese in conjunction with Japanese at the end of its distribution period. While language may not be a strong indicator of whether the primary target is a Japanese or international audience, as people in colonized and occupied areas of the “Greater East Asia Co-Prosperity Sphere” are increasingly taught and expected to read Japanese (Germer, 2015).
table.1 FRONT's initial two years of Scheduled Themes. Data form Seiichi, Tagawa. (2000). 戦争のグラフィズム 「ＦＲＯＮＴ」を創った人々. Page 70, 平凡社.
table.2 First Issue catalog (Scheduled): "Industrial Soldiers" Editorial Draft. Data From Seiichi, Tagawa. (2000). 戦争のグラフィズム 「ＦＲＯＮＴ」を創った人, 平凡社.
For the cover of the first issue, the two photomontage magazines made completely different choices. USSR in Construction used a formal industrial production scene for the cover of the first issue (fig.3), with the theme of Magneto's Troi, the Giant and the Builder. USSR in Construction cover uses architectural elements and scale to symbolize industrial might and collective achievement, focusing the viewer's attention on a grand vision of Soviet power. Front chose a half-length photograph of a young Japanese naval officer in profile, without any background. This photo uses the intimate, human scale to communicate military preparedness and personal responsibility, aiming at the future of the Japanese military while also evoking national pride and military strength.
For the cover of the first issue, the two photomontage magazines made completely different choices. USSR in Construction used a formal industrial production scene for the cover of the first issue (fig.3), with the theme of Magneto's Troi, the Giant and the Builder. USSR in Construction cover uses architectural elements and scale to symbolize industrial might and collective achievement, focusing the viewer's attention on a grand vision of Soviet power. Front chose a half-length photograph of a young Japanese naval officer in profile, without any background. This photo uses the intimate, human scale to communicate military preparedness and personal responsibility, aiming at the future of the Japanese military while also evoking national pride and military strength.
fig. 2 (left)
The 1-2 issue of FRONT Japan Navy theme. Printing method: Natural color photography offset print or monochrome (duotone) print, gravure printing for some parts. Image form Seiichi, T. (2024). 復刻保存版 FRONT I 海軍号・満州国建設号・空軍(航空戦力)号 (Vol. 1–I). 平凡社.
fig. 3 (right)
The 1-2 issue of FRONT Japan Navy theme. Printing method: Natural color photography offset print or monochrome (duotone) print, gravure printing for some parts. Image form Seiichi, T. (2024). 復刻保存版 FRONT I 海軍号・満州国建設号・空軍(航空戦力)号 (Vol. 1–I). 平凡社.
Coincidentally, both magazines chose red as their primary cover color, with the difference being that FRONT's color is more saturated. The choice of red is significant as it symbolizes power, revolution, and energy—key elements that both Soviet and Japanese propaganda sought to convey through their imagery. FRONT's inaugural cover featured the title text in English and traditional Mongolian (in a vertical layout). This choice was related to the predominantly used script in Manchukuo, the Northeast Asian distribution region they were targeting at the time.
And at Photographic Vision, USSR In Construction cover photograph emphasizes large industrial chimneys shot from a low angle, creating a sense of monumentality. The choice of this angle makes the viewer feel small in comparison to the massive structures, a possible reference to the Soviet Union’s industrial power and the scale of its construction projects. The photographer here is not just documenting the chimneys but manipulating the composition to create a grand, almost awe-inspiring atmosphere. In contrast, the FRONT cover focuses on a close-up portrait of a Japanese naval officer, taken from a slightly lower perspective, which creates a sense of respect and strength. The tight framing on the figure against a blank or neutral background puts the individual as a representation of the state’s military power. The photographer here focuses on the human subject to convey a sense of disciplined readiness and the ideals of heroism in wartime Japan.
The FRONT distribution plan envisioned in 1941 covered topics for the following two years that centered on economic and industrial production. An analysis of four years of publication data (table 3) reveals that these topics were altered, and the frequency of distribution was reduced accordingly. This is directly related to the fact that FRONT's distribution was financed by the Japanese military, which needed the help of FRONT and the leading photomontage style of the time to help show the leading military power of the Japanese army, which explains why FRONT shows almost exclusively male soldiers and technicians. FRONT repeatedly refers to “the cooperation of man and machine” as the key to Japan's success, which was used to help demonstrate the strength of the Japanese military (Felski, 1995). The purpose of this choice of content was to demonstrate Japan's commitment to modernization, with military technology and masculinity becoming closely linked as symbols of this modernization. (Germer, 2015)
The 1-2 issue of FRONT Japan Navy theme. Printing method: Natural color photography offset print or monochrome (duotone) print, gravure printing for some parts. Image form Seiichi, T. (2024). 復刻保存版 FRONT I 海軍号・満州国建設号・空軍(航空戦力)号 (Vol. 1–I). 平凡社.
fig. 3 (right)
The 1-2 issue of FRONT Japan Navy theme. Printing method: Natural color photography offset print or monochrome (duotone) print, gravure printing for some parts. Image form Seiichi, T. (2024). 復刻保存版 FRONT I 海軍号・満州国建設号・空軍(航空戦力)号 (Vol. 1–I). 平凡社.
Coincidentally, both magazines chose red as their primary cover color, with the difference being that FRONT's color is more saturated. The choice of red is significant as it symbolizes power, revolution, and energy—key elements that both Soviet and Japanese propaganda sought to convey through their imagery. FRONT's inaugural cover featured the title text in English and traditional Mongolian (in a vertical layout). This choice was related to the predominantly used script in Manchukuo, the Northeast Asian distribution region they were targeting at the time.
And at Photographic Vision, USSR In Construction cover photograph emphasizes large industrial chimneys shot from a low angle, creating a sense of monumentality. The choice of this angle makes the viewer feel small in comparison to the massive structures, a possible reference to the Soviet Union’s industrial power and the scale of its construction projects. The photographer here is not just documenting the chimneys but manipulating the composition to create a grand, almost awe-inspiring atmosphere. In contrast, the FRONT cover focuses on a close-up portrait of a Japanese naval officer, taken from a slightly lower perspective, which creates a sense of respect and strength. The tight framing on the figure against a blank or neutral background puts the individual as a representation of the state’s military power. The photographer here focuses on the human subject to convey a sense of disciplined readiness and the ideals of heroism in wartime Japan.
table.3, FRONT Publication List, Data form Seiichi, Tagawa. (2000). 戦争のグラフィズム 「ＦＲＯＮＴ」を創った人々. Page 323, 平凡社.
The FRONT distribution plan envisioned in 1941 covered topics for the following two years that centered on economic and industrial production. An analysis of four years of publication data (table 3) reveals that these topics were altered, and the frequency of distribution was reduced accordingly. This is directly related to the fact that FRONT's distribution was financed by the Japanese military, which needed the help of FRONT and the leading photomontage style of the time to help show the leading military power of the Japanese army, which explains why FRONT shows almost exclusively male soldiers and technicians. FRONT repeatedly refers to “the cooperation of man and machine” as the key to Japan's success, which was used to help demonstrate the strength of the Japanese military (Felski, 1995). The purpose of this choice of content was to demonstrate Japan's commitment to modernization, with military technology and masculinity becoming closely linked as symbols of this modernization. (Germer, 2015)
Japan defined its colonialism of Northeast, East, and Southeast Asia as patrilineal—meaning that it was framed as a paternalistic effort to 'guide' and control these regions, emphasizing male leadership and authority (Cave, 2012; Satoshi, 2018). The Soviet Union, on the other hand, utilized the USSR in Construction to propagate an envisioned utopia. Japan believes that Japan's victory in the Russo-Japanese War (1904-1905) freed Northeast Asia from the effects of colonial rule and served as an example for the whole of Asia in its struggle against colonialism (Lin, 2023). And at the same time, Japanese propaganda included phrases like "Asia for the Asiatics" and talked about the need to "liberate" Asian colonies from the control of Western powers (Rhodes, 1988). The sovereign geopolitical influence and socio-cultural impact on Northeast Asia that this brought about gave their Greater East Asia Co-Prosperity Sphere an idealistic imagery that Japan would see as decolonial in their propaganda (J. Mimura, 2011). Manchuria is presented as a model for the modernization and anti-colonial liberation of Asia under Japanese domination (FRONT, issue 5-6, pp. 4-5). China is described as the last chapter, and Manchuria as the final page, of the 'Anglo-Saxon dominated colonization of Asia.' But this last chapter, just as the Russian imperialists were about to close it, was opened by Japan as the first page of the liberation of Asia (Germer, 2015).
The Cornerstone of Asia issue of FRONT (1942), the rhetorical question whether the Japanese are the Aggressors of Asia appears repeatedly and on double-page spreads presenting the history of Euro-American aggression and hegemony over Asia, beginning with the Opium Wars (Germer, 2015). But the Asian inhabitants living within the geographic boundaries of the Greater East Asia Co-Prosperity Sphere at the time considered this to be colonialism, even in Northeast Asia, which had been most affected by Japan's so-called non-colonial propaganda (Lin, 2023). There was a significant discrepancy between the content of FRONT propaganda and the actual truth. For example, FRONT often depicted exaggerated industrial outputs and overly enthusiastic workers, which created an unrealistic portrayal of Japanese progress. These untruths only highlighted the positive aspects, failing to maintain the authenticity of the photographic record. It is a use of propaganda techniques aimed at guiding readers' understanding. The different distribution and content creation purposes resulted in FRONT's unique style of photomontage, characterized by its dynamic compositions, use of vibrant colors, and emphasis on military themes, which differentiated it from the Soviet approach.
fig 4, USSR in Construction，German edition, 1937, nos. 9-12, The Stalin Constitution, unpaginated. In this photo collage, Stalin forms the center between two rows of dignitaries and in front of the ethnically diverse people of the Soviet Union.
fig 5, FRONT, 1943, Issue. 5-6, Manchukuo Construction Theme. This photo collage evokes the concept of the Harmony of the five races. No leader or charismatic figure is used to underwrite this harmony.
However, unlike the high frequency of photographs of leaders (e.g., Stalin and Lenin) in USSR in Construction, FRONT lacks a clear central figure, even though the Emperor of Japan, the supreme commander of the military and deified figure established by the Japanese Constitution, appears only once in FRONT (FRONT, issue 3-4). This absence of a central figure is significant, especially in comparison to the Soviet approach, which heavily emphasized the cult of personality around leaders like Stalin, thereby reinforcing their authority and influence. More often than not, the leader is symbolized through imperial insignia, such as the chrysanthemum crest, and prominent royal buildings like the Imperial Palace. This does not imply that FRONT was more critical in its portrayal of leadership. Rather, Japan considered the Emperor as a state religious figure, not a political figure to be heavily propagandized (Griffin, 2005). As Roy Starrs argues for the period from the 1930s onwards, the Japanese did not have to look for a god (like Hitler or Mussolini), they already had one in the Emperor, who could just as easily be turned to the uses of a fascist ideology.
Figure 4 of USSR in Construction features passive borders created through vertical elements, guiding the viewer's attention within the frame. The citizens at the top are framed within the architecture of the magazine’s design. The large red blocks evoke banners, funneling the viewer's attention inward to emphasize control, unity, and centralized authority. Stalin’s presence in the center acts as an anchor, suggesting a closed vision of society. In contrast, Fig 5 features active borders, with figures arranged in a circular gaze, extending visual energy outward. This creates a sense of openness and collective vision, contrasting with the Soviet image's emphasis on control. The lack of a central leader and the wide sky suggesting an expansive and inclusive realm. The lack of a central leader or frame implies openness, and the wide sky invites the viewer to imagine the Greater East Asia Co-Prosperity Sphere as a vast, borderless vision.
The two images convey distinct messages, impacting the viewer's psychological response. USSR in Construction: The effect is one of order, control, and deference to authority. The central figure reassures the viewer, invoking respect and admiration, while the diverse citizens in the background suggest unity under Stalin, emphasizing a hierarchical society. Fig 5 absence of a dominant leader fosters a sense of community and cooperation. The focus on diverse, smiling faces evokes belonging, harmony, and optimism, creating an inclusive, utopian vision that invites the viewer to feel part of a greater whole. FRONT's publicity effectively conveys an inclusive, forward-looking narrative, aligning with its propaganda goals.
fig 6, The inside page of 1-2 issue of Japan Navy theme. FRONT 1942. Printing method: Natural color photography offset print or monochrome (duotone) print, gravure printing for some parts. Image form Seiichi, T. (2024). 復刻保存版 FRONT I 海軍号・満州国建設号・空軍(航空戦力)号 (Vol. 1–I). 平凡社.
Figure 6, from issue 1-2 of the official FRONT release, has a Japan Navy theme. The composition features a Japanese officer viewed from behind, looking through binoculars, with other officers forming lines that emphasize surveillance. The horizon line, with battleships in the distance, establishes depth and emphasizes the scale of the naval operation, directing attention toward the impending engagement. The viewer sees two layers of action: officers in the foreground observing, and distant ships ready for battle. This composition conveys anticipation, with the officers as passive yet alert participants in a larger military operation.The binoculars act as focal points, guiding the viewer’s eye toward the distant ships, symbolizing the emphasis on surveillance and military readiness, crucial aspects of the depicted naval operation. The officers are slightly out of focus compared to the clearer background of the sea and ships, emphasizing that the real action lies ahead. This visual strategy shifts focus from individuals to the machinery of war, highlighting the collective nature of military engagement. The calm demeanor of the officers contrasts with the looming naval battle, creating a tension between control and danger. The blue color reinforces this psychological effect, symbolizing calmness and loyalty, and capturing emotions between calmness and imminent action.
fig 7, The inside page of 10-11 issue of Iron (Productive Power). FRONT 1944. Printing method: Natural color photography offset print or monochrome (duotone) print, gravure printing for some parts. Image form Seiichi, Tagawa. (2000). 戦争のグラフィズム 「ＦＲＯＮＴ」を創った人々, 平凡社.
The subjects in Figure 7 center around large-scale machinery and plant environments, highlighting Japan's industrial capabilities. The accompanying text emphasizes Japan's role in supplying machinery for the development of Asia, asserting its technological superiority as the 'machine factory of Asia.' This portrayal aimed to influence both domestic and international audiences by showcasing Japan's industrial might and projecting technological dominance abroad. In contrast to earlier complex photomontages in FRONT, this image is more direct, reflecting wartime austerity and resource constraints.
The graphic elements focus on the repetition of massive mechanical forms, symbolizing tireless production and Japan's determination to supply the region. The image showcases large industrial machinery—on the left, a conveyor-like mechanism stretches into the distance, while on the right, circular gears dominate the scene. This framing emphasizes the scale of Japanese industrial production. The symmetrical layout suggests an organized system where technology reigns supreme, symbolizing Japan's capacity to supply industrial needs for all of Asia. The image conveys continuous production, with mechanical parts stretching into the distance, symbolizing Japan's ability to produce equipment for the entire region. This portrayal aimed to instill confidence in Japan's industrial capabilities, presenting it as a reliable provider and leader in technological advancement. The focus on machinery implies a forward-looking vision, aligning with Japan's wartime goals of showcasing technological superiority. The lack of human presence reinforces the idea that Japan’s strength lies in its technology. The psychological impact is one of awe for the scale of production, conveyed by the massive machinery, orderly layout, and repetition of forms that emphasize power and efficiency.
This issue, Iron (Productive Power), was published only one year after the defeat of Japan, and the language of distribution had changed from the initial 15 languages to predominantly Chinese and Japanese, mainly targeting Northeast Asia. This shift reflected Japan's changing priorities and a focus on reaching audiences in the occupied regions. This suggests that the successful portrayal of industrial subjects in FRONT was a propaganda technique to convey that the Japanese Empire remained strong.
fig 8, The inside page of 7 issue of Paratrooper Issue. FRONT 1943. Printing method: Natural color photography offset print or monochrome (duotone) print, gravure printing for some parts. Image form Seiichi, Tagawa. (2000). 戦争のグラフィズム 「ＦＲＯＮＴ」を創った人々, 平凡社
Figure 8 from the 1943 Paratrooper Issue of FRONT Magazine showcases the unique layout design and binding techniques. The image highlights dynamic and static elements through both the figures and the page structure. Paratroopers in mid-air occupy the upper sections of the pages in a continuous sequence, creating a sense of fluid motion. The upper part of the image suggests uninterrupted action, as if the viewer is watching events unfold across the pages. The binding technique introduces a static element, splitting the lower part of the image across two pages to show paratroopers on the ground and the aftermath of their jump. This visual break emphasizes the transition from action to stillness, adding complexity to the narrative.
The layout design uses photomontage to juxtapose dynamic and static sequences. The upper portion of the layout presents a smooth, uninterrupted flow of action. The lower part, fragmented by the binding, gives the impression of a transition from flight to landing. The interaction between these different parts of the pages reinforces the physicality of the magazine's format. The binding and layout are integral to the viewer’s experience of time and motion. The dynamic and static interactions are emphasized by the paratroopers’ suspended poses in the upper portion. Meanwhile, in the lower section, the figures lie still, grounded after their landing, creating a stark contrast between motion and rest. The images on the lower pages represent the static consequence of the earlier dynamic action above, creating a visual rhythm that enhances the paratroopers' narrative.
FRONT and similar magazines served as both propaganda vehicles and artistic expressions, intertwining political messages with visual artistry. Their impact lies not only in their propagandistic content but also in their contribution to the art of photography and visual storytelling, which continues to influence contemporary perceptions of World War II. This analysis underscores the significant role of media in influencing public perception and national identity during tumultuous periods, as well as the power of visual media for both artistic and ideological dissemination.
Stephen Shore, in The Nature of Photographs: A Primer, suggests that photographs can evoke psychological responses, acting as a medium between viewer and photographer. The materiality of the image—its print medium, context, and presentation—all affect the viewer's experience. The print medium influences texture and tangibility, context shapes the meaning and relevance, and presentation impacts how the viewer engages with the visual content. Though we can no longer truly empathize with FRONT's original audience, these historical documents invite us to step back in time. They help us attempt to understand the emotional landscape of the era, reflecting the lasting power of photography.
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