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"Heather (North Korean Posters), a collector of North Korean and Vietnamese art, and Buchanan (Vietnam Zippos: American Soldiers' Engravings and Stories) here present full- and half-page reproductions of Communist propaganda posters printed in Vietnam from the 1960s to the present. Buchanan's discussions in the introductory essay on the printing methods and native materials used in wartime posters are especially captivating. The posters, captioned in English and German, are arranged into four subject groups: war; Ho Chi Minh and the Communist Party; agriculture; and education, population control, and voting. Because the material is organized by topic, it would have been helpful for the captions to include approximate dates. VERDICT An original and nicely produced book; recommended for students and lay readers with an interest in Vietnam or propaganda art. Eric Linderman, Euclid P.L., OH"--Library Journal Reviews.
Forests Are Gold examines the management of Vietnam's forests in the tumultuous twentieth century—from French colonialism to the recent transition to market-oriented economics—as the country united, prospered, and transformed people and landscapes. Forest policy has rarely been about ecology or conservation for nature’s sake, but about managing citizens and society, a process Pamela McElwee terms “environmental rule.” Untangling and understanding these practices and networks of rule illuminates not just thorny issues of environmental change, but also the birth of Vietnam itself.
This catalogue documents a watershed social and political moment-the Viet Nam War-from the point of view of three distinct cultures. Exuberant, do-it-yourself images from students, draft resisters, vets, and other opponents of the war in America are juxtaposed with images produced in North Viet Nam which display a riveting artistry at the service of nationalism and productivity, as well as with Cuban posters which express solidarity with the Vietnamese struggle against U.S. imperialism using an array of modernist styles. Essays by Nguyen Ngoc Dung, David Kunzle, Carlo McCormick, and Carol Wells.OUT OF PRINT.
By the spring of 1970, Americans were frustrated by continuing war in Vietnam and turmoil in the inner cities. Students on American college campuses opposed the war in growing numbers and joined with other citizens in ever-larger public demonstrations against the war. Some politicians—including Ronald Reagan, Spiro Agnew, and Richard Nixon—exploited the situation to cultivate anger against students. At the University of California at Berkeley, student leaders devoted themselves, along with many sympathetic faculty, to studying the war and working for peace. A group of art students designed, produced, and freely distributed thousands of antiwar posters. Posters for Peace tells the story of those posters, bringing to life their rhetorical iconography and restoring them to their place in the history of poster art and political street art. The posters are vivid, simple, direct, ironic, and often graphically beautiful. Thomas Benson shows that the student posters from Berkeley appealed to core patriotic values and to the legitimacy of democratic deliberation in a democracy—even in a time of war.
How American soldiers opposed and resisted the war in Vietnam While mainstream narratives of the Vietnam War all but marginalize anti-war activity of soldiers, opposition and resistance from within the three branches of the military made a real difference to the course of America’s engagement in Vietnam. By 1968, every major peace march in the United States was led by active duty GIs and Vietnam War veterans. By 1970, thousands of active duty soldiers and marines were marching in protest in US cities. Hundreds of soldiers and marines in Vietnam were refusing to fight; tens of thousands were deserting to Canada, France and Sweden. Eventually the US Armed Forces were no longer able to sustain large-scale offensive operations and ceased to be effective. Yet this history is largely unknown and has been glossed over in much of the written and visual remembrances produced in recent years. Waging Peace in Vietnam shows how the GI movement unfolded, from the numerous anti-war coffee houses springing up outside military bases, to the hundreds of GI newspapers giving an independent voice to active soldiers, to the stockade revolts and the strikes and near-mutinies on naval vessels and in the air force. The book presents first-hand accounts, oral histories, and a wealth of underground newspapers, posters, flyers, and photographs documenting the actions of GIs and veterans who took part in the resistance. In addition, the book features fourteen original essays by leading scholars and activists. Notable contributors include Vietnam War scholar and author, Christian Appy, and Mme Nguyen Thi Binh, who played a major role in the Paris Peace Accord. The book originates from the exhibition Waging Peace, which has been shown in Vietnam and the University of Notre Dame, and will be touring the eastern United States in conjunction with book launches in Boston, Amherst, and New York.
Bosnian War Posters is a unique compilation of posters and political graphic design. It includes key archive photos from the war as well as new photos that put all the images in context today. This book illustrates the entire conflict: from April 1992—when the first shots were fired in Sarajevo—to December 1995—when peace was agreed upon in Dayton, Ohio. Subsequent images depict the post-war reconstruction period and the hunt for war criminals. The posters were gathered together in Bosnia and the former Yugoslavia shortly after the Bosnian war ended. They form the only large, pan-Bosnian collection of such material that exists, offering an eye-witness account of the war from the point of view of those who lived through all its horrors. A unique pictorial study of the bloodiest European conflict since 1945, Bosnian War Posters will engage all those interested in graphic design, poster art, the tragic story of Yugoslavia, and the politics of nationalism in the modern age.
A rhetorical history of Vietnam War era posters produced at the University of California, Berkeley, in the spring of 1970. Places the posters in the contexts of the politics of the 1960s and the history of political graphics.
One of the common features of communist regimes is the use of art for revolutionary means. Posters in particular have served as beacons of propaganda--vehicles of coercion, instruction, censure and debate--in every communist nation. They have promoted the authority of state and revolution, but have also been used as an effective means of protest. By their nature, posters are ephemeral, tied to time and place, but many have had far-reaching, long-lasting impact. They are imbued with both artistic integrity and personal conviction--Bolshevik posters, for example, are among the most vibrant, passionate graphics in art history. This is the first truly global survey of the history and variety of communist poster art. Each chapter is written by an expert in the field, and examines a different region of the world: Russia, China, Mongolia, Eastern Europe, North Korea, Vietnam and Cuba. This beautifully illustrated, comprehensive survey examines the broad range of political and visual cultures of communist posters, and will appeal to a wide audience interested in art, history and politics.
"A lush catalog… exquisitely conceived and rendered."—The New York Times This essential publication features a wide selection of the most eye-catching and iconic examples from the internationally renowned poster collection at the Imperial War Museum in London. More than 300 superb full-color illustrations of hard-hitting propaganda and groundbreaking graphic art encompass unforgettable images such as Alfred Leete’s “Your Country Needs You” as well as documentary photographs and additional material drawn from the world of advertising. Through these posters, James Aulich, an international expert on posters and graphic design, examines the social, political, ethnic, and cultural aspirations of America, Britain, Northern Ireland, Germany, France, the Netherlands, Belgium, Russia, Austria, Hungary, and the Czech Republic. Covering topics as diverse as advertising in World War I, the Bolshevik Revolution, the Spanish Civil War, Germany and Occupied Europe in World War II, anti-nuclear campaigns, and Vietnam, the book is a comprehensive and invaluable resource for anyone interested in graphic design or modern history.