Keeping the Masses in Line: Critical Studies of Media, Propaganda
and the Powers of Normalization
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published 13/09/2007
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Summary
According to author Toby Clark in Art and Propaganda, Saliger’s paintings, as well as those of other German artists who adopted similar themes, represent “qualities of Aryan superiority . . . [and this] supposedly superior physical beauty was held to be the ultimate evidence of natural supremacy” (67). Clark reveals how art can become propaganda when, in works like Saliger’s, arts that “intentionally promoted the concept of Aryan beauty and excluded ‘ugliness’ and ‘impurity’ were actively complicit with the practice of excluding and ultimately exterminating non-Aryan people” (68). It is no coincidence that German art during the Third Reich looked so similar. There are at least two other paintings almost identical to Saliger’s—Adolf Ziegler’s Urteil des Paris (1939), and Georg Friedrich’s Das Urteil des Paris (1939), and many more that impel similar themes—idolizing powerful male bodies and slim female bodies.
Table of Contents
- Around 1939, German artist Ivo Saliger painted his Das Parisurteil, or The Paris Judgment, based on the Roman myth.
- Extermination is an extreme result of propaganda, and of course it is no longer (largely) acceptable.
- In order to discuss current normalization, one needs to view its history.
- Foucault also compares the plague model with the state of the leper.
- Author Jacques Ellul offers a helpful understanding of exclusion in his book The Ethics of Freedom.
- In this manner, Foucault uses this Panoptic structure allegorically as a critique of power allocation in (mainly) capitalistic cultures
- Enter television. Robert Putnam's Bowling Alone
- This same isolationism is implicit in Foucault's Panopticism argument, and in Putnam
- The idea of the immobilized subject is furthered with Ellul's The Ethics of Freedom.
- The future-past as the eternal return to the same, rather than the continual creation of difference
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