Postmodern Advertising in Japan: Seduction, Visual Culture, by Ory Bartal
By Ory Bartal
An immense examine of postmodern advancements in eastern ads and paintings
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Extra info for Postmodern Advertising in Japan: Seduction, Visual Culture, and the Tokyo Art Directors Club (Interfaces: Studies in Visual Culture)
S. government’s economic policy, traditional industries were dismantled and built up again according to an American concept. Industrial design was certainly one aspect of the overall American encouragement. S. 60 After this project was launched in 1955, the ICA commissioned Russel Wright, one of America’s most important modern designers, together with two other American designers, to embark on a research trip to Asia. The objective was to help Asian countries to improve and expand the production of handicrafts, both for domestic use and for export.
Fukuhara Shinzō, the son of Fukuhara Arinobu, the company’s first manager, was also a photographer who built up the company’s design department from scratch. But the art director who truly led the company to a breakthrough was Yamana Ayao. He was personally identified with the Shiseido image all the way through the late 1950s (except for a period during the war when he worked for the Ministry of Propaganda). Like Sugiura Hisui, he was one of the leading designers of the 1920s and 1930s. Yamana and Sugiura, as well as their contemporaries Yabe Sue and Maeda Mitsugu, were influenced History of Japanese Advertising Design 25 by European visual styles such as art nouveau and art deco, which were first viewed in Japan in exhibitions such as the one curated by Yomiuri Shimbun after World War I.
47 This verbal and visual expression was explicitly encouraged by the Propaganda Ministry, which sought to use visual expression as yet another means to keep the home front population in line with the current political changes. Yet even this emphatically nationalistic visual expression was heavily influenced by foreign styles. Not surprisingly, the primary influences came from Germany and fascist Italy, which build their propaganda styles from both modernist visual strategies and traditional national aesthetics.