Open AccessThe Influence of Western Pop Culture on the Creation of the Image of the Performer Through the Design of Advertising Posters and Plates in the Period of Late Socialism
Author(s) -
Andriy Budnyk,
Катерина Поліщук
Publication year - 2021
Publication title -
demìurg: ìdeï, tehnologìï, perspektivi dizajnu/demìurg: ìdeï, tehnologìï, perspektivi dizajnu
Language(s) - English
Resource type - Journals
eISSN - 2617-880X
pISSN - 2617-7951
DOI - 10.31866/2617-7951.4.2.2021.246824
Subject(s) - period (music) , copying , graphic design , visual culture , socialism , history , visual arts , aesthetics , art , political science , communism , law , politics
The aim of the research is to analyze the formation of the artist’s image through the design of musical posters and records in the period of late socialism by borrowing the semantic component and formal techniques in foreign pop culture, including graphic design, which served as an important component. The research methodology is based on a logical-analytical tool of scientific knowledge. Scientific novelty. Previous research has been supplemented by the analysis of new empirical data, including the design of record covers, visual coincidences of primary sources and borrowings. The revealed facts will be useful for the further development of both modern Ukrainian design and the formation of the artist’s image in show business. Conclusions. As a result of the study we conclude that in the period 1970-1990 in the process of formation of pop culture in the USSR the problem of its visual representation was formed, as evidenced by numerous pieces borrowed from foreign pop design solutions for advertising products: posters, placards, album covers, accompanying products. At an early stage, this trend was manifested despite the existence of the “Iron Curtain”, ideological isolation and was episodic. In the period chronologically close to the collapse of the USSR, such processes of stylistic citation in design became more frequent in line with the growth of information coming from the developed West. Copying Western techniques and visual language can be seen as a desire to break away from the dogmatic patterns of culture instilled by socialist realism, regardless of the conscious or unconscious nature of imitation. Blind imitation was later replaced by a reasonable rethinking, so in the best examples of domestic design of the period under study there were attempts to give formal Western methods the character of the local national color, which requires further exploration.