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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
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초록· 키워드
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The Imperial Japan mobilized artists systematically to produce military documentary art records under the slogan of ‘paintbrush patriotism’, which means to repay the country with paintings, as Sino-Japanese War began to take shape. The paintings created at that time were acknowledged by the public through the exhibition of warfare paintings. In the process, the war was embellished as a holy war and the Newspaper Group of the Army was at the center of the state power, controlling and planning all these procedures.
The Newspaper Group was established in 1919 as the Minister of the Army and was responsible for boosting the fighting spirit with the propaganda campaign, media control and censorship. In particular, it suggested that the war of ideology and the was of weapons were considered as the same and recognized the necessity for a state organization which controls the unified propaganda policy. Art existed to promote the power effectively. From the point of view of power and art, the military as the principal agent of the state power, was the patron to artists and provided them with painting supplies, recommended models and locations, and proposed painting themes.
This paper examines the roles and purposes of the military record paintings which were produced under the policy of the military record paintings of the Newspaper Group of the Army. It considers the art which was urged by the country, and examines the collection of battle pictures of GHQ and the process of transferring to the USA from October 1945 to July 1951. It also reviews the continuity of the nature of war which emerges from the cutoff of creating war paintings.
The Newspaper Group was established in 1919 as the Minister of the Army and was responsible for boosting the fighting spirit with the propaganda campaign, media control and censorship. In particular, it suggested that the war of ideology and the was of weapons were considered as the same and recognized the necessity for a state organization which controls the unified propaganda policy. Art existed to promote the power effectively. From the point of view of power and art, the military as the principal agent of the state power, was the patron to artists and provided them with painting supplies, recommended models and locations, and proposed painting themes.
This paper examines the roles and purposes of the military record paintings which were produced under the policy of the military record paintings of the Newspaper Group of the Army. It considers the art which was urged by the country, and examines the collection of battle pictures of GHQ and the process of transferring to the USA from October 1945 to July 1951. It also reviews the continuity of the nature of war which emerges from the cutoff of creating war paintings.
목차
Ⅰ. 머리말
Ⅱ. 육군성 신문반의 화가협회조직
Ⅲ. 육군성 보도부의 전쟁기록화 정책
Ⅳ. 패전이후 전쟁기록화의 단절과 연속성
Ⅴ. 맺음말
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