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6. ULUSLARARASI SOSYAL VE BEŞERİ BİLİMLERE MULTİDİSİPLİNER YAKLAŞIMLAR KONGRESİ, 11 October 2025, no.212025, pp.107-113, (Full Text)
Propaganda in the 20th century became deeply intertwined with art, assuming a central role in the visual strategies of state politics. During this period, printmaking emerged as one of the most effective carriers of ideological messages due to its reproducibility and visual impact. This study centers on the concepts of stereotype and metaphor in propaganda prints, analyzing how visual codes were employed to influence public perception and guide collective thought. Through the theoretical lenses of Louis Althusser's “ideological state apparatuses” and Walter Lippmann's “manufacture of consent,” the article explores the shared and divergent visual strategies used in the propaganda imagery of regimes such as Nazi Germany, the Soviet Union, the United States, and the People’s Republic of China. While stereotypes served to solidify enemy figures through fixed visual templates, metaphors conveyed ideological messages on a symbolic level. These coding strategies transformed art from a purely aesthetic practice into a mechanism of political orientation. By examining the historical function of propaganda prints and their enduring influence on contemporary visual culture, this article offers a critical perspective on the relationship between art and ideology.
Keywords: Printmaking, Art and Politics, Political Art, Metaphor, Stereotype