National Advocacy And Emotional Mobilization

In modern warfare,national propaganda and emotional mobilization are important ideological battlefields,which can to some extent influence the motivation,goals,process,and results of the war.They provide legitimacy,rationality,and necessity for the war while also assisting military actions,gaining advantages in information,psychology,and politics,and having significant strategic value and practical significance for both sides of the conflict.Image,as a powerful medium of communication,plays an important role in this field because of its directness in conveying information.Therefore,photography,as an efficient tool for image production,is widely used in modern warfare for national propaganda and emotional mobilization.People holding cameras become extraordinary image producers.Born in the early 20 th century,Sha Fei(1912)and Kimura Ihei(1901)have many similarities in life experience and photography trajectory,but they became opponents on the ideological battlefield of national propaganda due to their respective nationalities and backgrounds.This study takes the two wartime photographers from China and Japan,Sha Fei and Kimura Ihei,as case studies.The research includes their photographic activities,the image production collectives they organized and led-the Chin-Cha-Chi Pictorial Society established by Sha Fei and his comrades,and TOHOSYA established by Kimura and his colleagues,as well as the pictorial magazines they individually published-Chin-Cha-Chi Pictorial and FRONT.From the perspectives of "State and Artists" and "From Individual to Collective",this study explores and compares the image production and dissemination of individuals and collectives in China and Japan during the same period and under the same wartime background,and investigates the relationship between national propaganda and emotional mobilization.In this study,a comprehensive research method is adopted,including historical,visual,comparative,and literature research methods,in order to reveal the different propaganda models and effects of China and Japan during World War II,as well as the role and influence of the war on personal and collective emotions and actions.Apart from the conclusion,the main text consists of four parts:Chapter One is the introduction,which elaborates on the research motivation,value and significance,methodology,and literature review.Chapter Two traces the professional trajectory and photographic activities of the two photographers under the wartime background from the perspective of "State and Artists".Chapter Three starts from the perspective of "From Individual to Collective" and studies and analyzes the preparation,organization,and image production of the Chin-Cha-Chi Pictorial Society and TOHOSYA.Chapter Four expands on the image construction and dissemination of individual and collective visual narratives,and comparatively analyzes the four important photographic activities of Sha Fei and Kimura Ihei from 1937 to 1940,as well as the image strategies,language,and propaganda effects of Chin-Cha-Chi Pictorial and FRONT.The innovation of this article lies in basically clarifying the relatively less researched photographic activities of Kimura Ihei during World War II,the preparation,organization,and image production of TOHOSYA,and the editorial techniques,content,and propaganda mobilization effects of FRONT magazine.This article also compares and studies these with the photographic activities of Sha Fei,the Chin-Cha-Chi Pictorial Society,and the relevant content of Chin-Cha-Chi Pictorial.