抗日時期我國宣傳漫畫研究

A Research on the Comics of War Propaganda during the Sino-Japan War , WWII

邱舜平(Shuen-Ping Chiou)

指導教授 ： 蔡綺

國立臺中科技大學/設計學群/商業設計系碩士班/碩士(2008年)

摘要

戰爭與中國歷史是難以分述的，戰爭的高變動性，不但帶來經濟、政治、生活的變革，還會造成國家文化間更頻繁的流通。藝術也因戰爭而被賦予時代意義，甚至成為傳播的工具，使藝術表現與內涵也隨之改變，許多效應至今仍持續發揮其影響力。而中國在八年抗日戰爭當中的藝術型態，尤以常活用水墨、鋼筆、版畫等各式媒材大量生產，並能融匯東西方多元思想、表現特質的抗戰漫畫最為特殊；其歷史意義、傳播性質與文化特色，在中國近代應用美術史上，也佔有獨到的地位和影響。故本研究針對抗日時期之宣傳漫畫藝術，進行文獻分析、歷史研究與圖像意涵之比較。
　　本文主要探討的重點包含：1、釐清傳統文化、時局因素、外來藝術與社會思潮對八年抗戰漫畫藝術的影響，並結合歷史因素與背景資料，理解抗戰漫畫在題材內容、圖像表現、精神內涵之特質。2、解析抗戰漫畫之概念成因，從圖像傳播的觀點審視抗戰漫畫之內涵語彙，進而歸類抗戰漫畫的傳播訴求主題。3、解讀抗戰漫畫輔助文案，如口號、標語及敘述內文等對其圖像語彙強化的成效。4、比較相關圖例及文獻，分析抗戰漫畫的視覺表現，藉此歸納抗戰漫畫創意呈現的圖像策略。
　　本研究從傳播與藝術兩方面審視抗戰漫畫的成就與影響。首先在傳播方面的成就與影響包含：藝術家們集體自發性地以漫畫配合抗戰的宣傳策略，有別於以往政府組織公告性的傳播方式，拓展出文化宣傳更多元的途徑；便於重製並能大量發行散佈的抗戰漫畫，可由雜誌刊物、傳單、壁畫等方式深入民居與村落巷弄之中，普及傳播之廣度；將種種訴求轉為圖像，使訊息更為具體，不像語言性傳播媒體般易受環境、識字率影響，能在第一時間產生視覺語彙之轉換，配合可重複閱讀的特質，進而提升閱讀率與觀者之理解度；抗戰漫畫以「說服」為最大執行目標，配合言簡意賅的詼諧文案作為輔助，擅用人性與情緒鼓動的攻辯，主動影響人民意見，且藉著各種手段與言詞創造輿論，使所欲傳達的觀點深植人心；抗戰漫畫可由刊物、傳單散播，或藉公開展覽、壁畫、布幔使觀眾與創作者齊聚一堂進而相互交流，達到分進合擊的多重宣傳功效。
　　其次在藝術方面的成就與影響包含：為我國史上首次由藝術家們大規模及主動發起眾多以抗戰宣傳為主之漫畫；由漫畫家組成之文藝組織，於各地編輯刊物並舉辦展覽，使漫畫等圖像藝術由室內走到戶外，不但凝聚藝術創作之力量，更加速了抗戰訊息的流通。豐子愷、李可染等眾多具備深厚藝術底蘊的藝術家投入抗戰漫畫的繪製，加上魯迅等知名文人的大力提倡，使原非正統藝術的漫畫與本為民間工藝之版畫，提升到主流創作的層次。抗戰漫畫藉藝術為宣傳所用，拓展了藝術之實用目的，所引起之風潮，使藝術更為深入民間，讓繪畫不再只是殿堂中的小眾藝術，成為學養士紳或平民工農均能觀賞並參與創作的大眾藝術。結合大眾化的抗戰漫畫藝術，利用成本低廉且易於創作、複製的鋼筆與版畫媒材或帶有民族情感的水墨筆法，突破了物資與閱讀地點的限制。強調人物特色、簡練、直接的視覺效果及誇張、趣味、幽默和諷刺等創意表現，為中國繪畫與藝術之表現開創新局。

關鍵字

抗戰漫畫 ； 漫畫傳播 ； 對日抗戰 ； 文化宣傳 ； 漫畫

並列摘要

It is hard to discuss Chinese history and war separately. The high variability of war effects economics, politics and way of life, and stimulates the circulation of national culture. In times of war, art takes on the features of the time and even becomes a tool of propaganda, affecting its style and message. The influence of past wars on art reverberates to today. Comics of war propaganda were the most noteworthy art form during the eight-year Second Sino-Japan War. They were mass-produced using commonplace art media, such as Chinese ink, pen and woodcutting and combined Eastern and Western ways of thought. They have an original position and unique influence in the recent history of applied art in China because of their historical significance, the way they were disseminated, and their cultural characteristics. This research looks at the art of propaganda comics during the Second Sino-Japan War period through comparing analysis of documents, historical research, and the messages of images in comics.
The following four areas will be explored: 1) Clarifying the influence of traditional culture, contemporary conditions, and outside art and social thought on the comics of the eight-year Second Sino-Japan War, and exploring historical factors and background information to understand the distinguishing characteristics of the subjects, contents, images and spiritual connotations of comics of war propaganda. 2) Categorizing the main themes of propaganda appeals by analyzing the conceptual causes of comics of war propaganda, and examining their vocabulary from the point of view of visual propaganda. 3) An analytical reading of how textual elements used in comics of war propaganda, for example catchphrases, slogans, and textual narrative strengthened visual vocabularies. 4) Categorizing the pictorial strategies of the styles of comics of war propaganda by comparing graphic symbols and text used in comics, and analyzing the visual styles of comics.

In addition, this research examines the achievements and influence of comics of war propaganda from a propaganda perspective and an artistic perspective. First, from a propaganda perspective, this research examines the following: The collective and spontaneous collaboration of comic artists with the propaganda strategies of the war, the dissimilarity of this phenomenon with public propaganda methods used by government organizations in the past, and how this developed into cultural propaganda, which was more varied in terms of approaches; The widespread dissemination and popularization of comics of war propaganda, which, readily reproduced and mass-dispersed, entered into every home and village via magazines, leaflets, and paintings on walls; Comics increased effective communication of information, readability, and understanding when presenting various appeals in image form because their visual messages were immediately communicated, they could be reread, and they were unlike spoken propaganda methods, which were easily affected by environment and literary rates; The main aim of comics of war propaganda was to persuade, and aided by succinct and humorous textual elements they were adept at influencing people’s ideas by appealing to human nature and emotions. They used various methods and language to form public opinion. They deeply instilled desired points of view into the minds of target audiences; and Comics of war propaganda achieved a multi-pronged propaganda effect and brought audience and artist together in a mutual exchange via dissemination in magazines, pamphlets, on wall paintings, cloth banners, and via public exhibitions.
Next, in terms of artistic achievement and influence the following areas are explored: For the first time in Chinese history, artists took part in a large-scale, self-initiated production of propaganda comics. Comic artists formed art groups, published their work in editorial magazines, and held exhibitions around China taking pictorial art such as comics from indoors outdoors. They concentrated the power of artwork and speeded up the dissemination of information during the war; Numerous established artists, such as Feng Tzu-kai and Li Ke-ran, delved into the production of comics of war propaganda. Along with help from the promotion of famous authors like Lu Hsun, they brought the non-traditional art of comics and the folk art form of woodcutting into the mainstream; Comics used art for propaganda purposes and developed the practical application of art. The trend that followed placed art among the people. Art was no longer only for an elite minority. Now, learned men and ordinary people alike could appreciate it and take part in its creation. Comics of war propaganda broke restrictions in terms of where they could be read and the materials that could be used to create them. They combined the popular form of comics with low cost and easy to use art materials like pens, woodcutting, and traditional ink calligraphy; and Comics emphasized characters, succinct and direct visual effects, as well as techniques like exaggeration, interest, humor and irony, marking the beginning of a new style in Chinese painting and art.

並列關鍵字

Comics of War Propaganda ； Dissemination Through Comics ； Second Sino-Japan War ； Culture propaganda ； Comics

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