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Iron Fists: Branding the 20th Century Totalitarian State, by Steven Heller
Free Ebook Iron Fists: Branding the 20th Century Totalitarian State, by Steven Heller
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An illustrated history of propaganda art and design from Nazi Germany, Fascist Italy, the USSR, and Communist China.
- Sales Rank: #900442 in Books
- Published on: 2011-04-20
- Original language: English
- Number of items: 1
- Dimensions: 11.50" h x 1.00" w x 10.00" l, 3.13 pounds
- Binding: Paperback
- 224 pages
Review
'a fascinating study of the power inherent in symbols and visual branding' Creative Review 'Heller's text throughout is splendid, neither assuming any prior knowledge of the history of these regimes nor pitching so low that it will bore the more informed reader. ... [Iron Fists] is a powerful achievement, one that fascinates, and leaves the reader sickened and unnerved by the fascination.' Icon 'The book looks amazing ... one opens the book with a genuine sense of seduced trepidation ... the great strength of this book lies in its coherence as an image essay, and you'd be hard-pushed to find such a comprehensive, considered display of documents that have shaped the modern political and cultural landscape ... Heller deserves considerable credit for this.' ArtReview 'Steven Heller's Iron Fists makes a sophisticated and visually arresting comparison between modern corporate-branding strategies -- slogans, mascots, jingles, and the rest -- and those adopted by 'four of the most destructive 20th century totalitarian regimes': Nazi Germany, Fascist Italy, the Soviet Union under Lenin and Stalin, and Mao's China [...] Iron Fists has the dimensions and dazzling illustrations of a coffee-table book [...] Heller's prose is as clear and uncluttered as the graphic design he admires.' The New York Times Book Review;
About the Author
Steven Heller is the art director of the NY Times Book Review and co-chair of the MFA Design program at the School of Visual Arts. He is the editor of the AIGA online journal, VOICE. He is a contributing editor to PRINT, EYE, Baseline, and ID. He writes frequently for Metropolis and other design magazines. He is author, co-author, and editor of over 90 books on design and popular culture.
Most helpful customer reviews
16 of 16 people found the following review helpful.
an eye opener, coca cola and nazi germany: two strong brands
By A. M. Vliegenthart
Steven Heller's "Iron Fists" makes a sophisticated and visually arresting comparison between modern corporate-branding strategies - slogans, mascots, jingles and the rest - and those adopted by "four of the most destructive 20th-century totalitarian regimes": Nazi Germany, Fascist Italy, the Soviet Union under Lenin and Stalin, and Mao's China. As he pursues his four "case studies," Heller, by means of unsettling images and shrewd analysis, amply restores the vileness to branding.
10 of 12 people found the following review helpful.
dictators and graphic design
By Mauricio Quiroga I. Websites
This is a great book that any graphic designer or history lover should have. It tells you how Hitler, Mussolini, Lenin and the chinese leaders were capable to move and brainwash the population of their respective countries by using the propaganda.
2 of 2 people found the following review helpful.
The look of total control
By Robin
A reasonable introduction to the way four totalitarian governments presented their public face. The book joins a slowly expanding library of titles dealing with State graphics in China, Germany, Italy and the Soviet Union. Steve Heller had an earlier look at Germany with his 2000 published book 'The Swastika: Symbol beyond redemption' and some of that is probably included in these pages, Prestel and Tashen have both published titles covering East German, North Korean and Chinese propaganda posters.
Of the four countries surveyed maybe the odd one out is Italy, the images in the book don't seem to have any distinctive feel about them, perhaps Mussolini was content to have his face everywhere and that was enough. So completely different to the Nazi way of presenting their leader and political culture. Pages fifty-two and fifty-three show a 1938 graphics manual published by the German Labor Front showing the correct types to use: Fractur; Rotunda; Futura. Rotunda in particular seems the type of choice in so much printed matter throughout the German chapter.
The Soviet Union is the clear winner for eye-catching persuasion. The 1917 revolution swept away existing design styles and new European art 'isms' influenced several designers to start afresh with bold graphics and especially photomontages. Alexander Rodchenko, El Lissitzky and Varvara Stepanova produced posters and photobooks that still look exciting today. Photography was an important part of Soviet propaganda but this didn't seem to influence the revolution in communist China where paintings inspired the masses, paintings and illustrations were part of their culture for centuries. Chairman Mao, peasants and the military were always shown striding confidently into the future (with or without Mao's Little Red Book).
Most of the images are reproductions of printed matter: posters; book covers (and some inside spreads from illustrative ones) newspapers; magazines; postcards and more. Non-printed matter includes badges, paintings and statues. There are several interesting whole page photos, rather wasted because they are just used to carry smaller images of print material. Though the book was published by Phaidon it was designed by a New York company so avoids the usual tiny text and plenty of empty page space that is typical of their titles.
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