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Asking what does foreign occupation look like and how does occupation shape visual expression and cultures, this Open Access edited collection explores how the occupied and occupiers have responded to their circumstances through visual culture. Contributors study specific cases of foreign occupation from around the world and across the 20th century, discussing the similarities, links and points of contact which bring disparate examples of occupation into dialogue with one another. The intention is to illustrate how an emphasis on 'the visual' can help inform our understanding of occupation more broadly. Comprised of 12 core chapters and structured around 4 methodological and conceptual themes, this book adopts a consciously transcultural approach through which contributors examine the influence of specific cases, memories and legacies of occupation. This book is open access and available on www.bloomsburycollections.com. It is funded by the European Research Council.

Iconographies of Occupation is the first book to address how the "collaborationist" Reorganized National Government (RNG) in Japanese-occupied China sought to visualize its leader, Wang Jingwei (1883–1944); the Chinese people; and China itself. It explores the ways in which this administration sought to present itself to the people over which it ruled at different points between 1939, when the RNG was first being formulated, and August 1945, when it folded itself out of existence. What sorts of visual tropes were used in regime iconography and how were these used? What can the intertextual movement of visual tropes and motifs tell us about RNG artists and intellectuals and their understanding of the occupation and the war?
Drawing on rarely before used archival records relating to propaganda and a range of visual media produced in occupied China by the RNG, the book examines the means used by this "client regime" to carve out a separate visual space for itself by reviving pre-war Chinese methods of iconography and by adopting techniques, symbols, and visual tropes from the occupying Japanese and their allies. Ultimately, however, the "occupied gaze" that was developed by Wang's administration was undermined by its ultimate reliance on Japanese acquiescence for survival. In the continually shifting and fragmented iconographies that the RNG developed over the course of its short existence, we find an administration that was never completely in control of its own fate—or its message. Iconographies of Occupation presents a thoroughly original visual history approach to the study of a much-maligned regime and opens up new ways of understanding its place in wartime China. It also brings China under the RNG into dialogue with broader theoretical debates about the significance of "the visual" in the cultural politics of foreign occupation.

Contributing to a growing literature on the transnational history of 'collaborationism' under wartime occupation, this paper examines 'Rural Pacification'–the counterinsurgency campaigns that were prosecuted from 1941 to 1943 in Japanese-occupied China–from the perspective of culture. In this paper, I argue that, despite being initiated as a military project, the 'political work' of Rural Pacification, and particularly the use of cultural production to spread government ideas to rural communities in the Lower Yangtze Delta, marked a crucial part of these campaigns. Rural Pacification was not purely about the eradication of communist resistance in China, but also about 'cleansing hearts'.

Iconographies of Occupation is the first book to address how the "collaborationist" Reorganized National Government (RNG) in Japanese-occupied China sought to visualize its leader, Wang Jingwei (1883–1944); the Chinese people; and China itself. It explores the ways in which this administration sought to present itself to the people over which it ruled at different points between 1939, when the RNG was first being formulated, and August 1945, when it folded itself out of existence. What sorts of visual tropes were used in regime iconography and how were these used? What can the intertextual movement of visual tropes and motifs tell us about RNG artists and intellectuals and their understanding of the occupation and the war? Drawing on rarely before used archival records relating to propaganda and a range of visual media produced in occupied China by the RNG, the book examines the means used by this "client regime" to carve out a separate visual space for itself by reviving prewar Chinese methods of iconography and by adopting techniques, symbols, and visual tropes from the occupying Japanese and their allies. Ultimately, however, the "occupied gaze" that was developed by Wang's administration was undermined by its ultimate reliance on Japanese acquiescence for survival. In the continually shifting and fragmented iconographies that the RNG developed over the course of its short existence, we find an administration that was never completely in control of its own fate—or its message. Iconographies of Occupation presents a thoroughly original visual history approach to the study of a much-maligned regime and opens up new ways of understanding its place in wartime China. It also brings China under the RNG into dialogue with broader theoretical debates about the significance of "the visual" in the cultural politics of foreign occupation. ; European Research Council

Iconographies of Occupation is the first book to address how the "collaborationist" Reorganized National Government (RNG) in Japanese-occupied China sought to visualize its leader, Wang Jingwei (1883–1944); the Chinese people; and China itself. It explores the ways in which this administration sought to present itself to the people over which it ruled at different points between 1939, when the RNG was first being formulated, and August 1945, when it folded itself out of existence. What sorts of visual tropes were used in regime iconography and how were these used? What can the intertextual movement of visual tropes and motifs tell us about RNG artists and intellectuals and their understanding of the occupation and the war? Drawing on rarely before used archival records relating to propaganda and a range of visual media produced in occupied China by the RNG, the book examines the means used by this "client regime" to carve out a separate visual space for itself by reviving pre-war Chinese methods of iconography and by adopting techniques, symbols, and visual tropes from the occupying Japanese and their allies. Ultimately, however, the "occupied gaze" that was developed by Wang's administration was undermined by its ultimate reliance on Japanese acquiescence for survival. In the continually shifting and fragmented iconographies that the RNG developed over the course of its short existence, we find an administration that was never completely in control of its own fate—or its message. Iconographies of Occupation presents a thoroughly original visual history approach to the study of a much-maligned regime and opens up new ways of understanding its place in wartime China. It also brings China under the RNG into dialogue with broader theoretical debates about the significance of "the visual" in the cultural politics of foreign occupation.

This paper explores the importance of portrait photography to the wartime collaborationist regime of Wang Jingwei, which governed parts of Japanese-occupied China from 1940 to 1945. It demonstrates how, for a combination of practical, political and cultural reasons, studio portraiture was chosen as one of the primary forms of media for the propagation of iconography by this administration. Studio portraiture was also, however, a realm in which this Chinese regime sought to stamp its own mark on visual culture, separate from the iconography of the occupying Japanese. This paper demonstrates this by tracing the origins and fate of a number of widely-circulated studio portraits of Wang taken in 1939, 1940, and 1941. This paper also speculates about the possibility of identifying and defining an 'occupied lens' during the war, 1 one which was clearly derivative of prewar forms, yet evolved in ways which set it apart both from Japanese propaganda, and from the visual culture of resistance.

Based on recently re-opened files and publications in Nanjing, as well as published and newsreel accounts from the 1940s, this paper represents the first scholarly analysis of the rituals surrounding the death and burial of Wang Jingwei in Japanese-occupied China. Rather than locating this analysis purely in the literature on the history of the Second Sino-Japanese War (1937-1945), however, this paper asks what Wang Jingwei's Re-organized National Government might tell us about personality cults in the political culture of modern China. While Wang's burial was one which drew heavily on the precedent of Sun Yat-sen's funerals of the 1920s, it also presaged later spectacles of public mourning and post-mortem commemoration, such as Chiang Kai-shek's funeral in 1975 in Taipei. In focusing on this one specific event in the life of a "puppet government" then, this paper hopes to re-ignite scholarly interest in the study of "dead leaders" and their posthumous lives in modern Chinese history more generally.

Based on recently re-opened files and publications in Nanjing, as well as published and newsreel accounts from the 1940s, this paper represents the first scholarly analysis of the rituals surrounding the death and burial of Wang Jingwei in Japanese-occupied China. Rather than locating this analysis purely in the literature on the history of the Second Sino-Japanese War (1937-1945), however, this paper asks what Wang Jingwei's Re-organized National Government might tell us about personality cults in the political culture of modern China. While Wang's burial was one which drew heavily on the precedent of Sun Yat-sen's funerals of the 1920s, it also presaged later spectacles of public mourning and post-mortem commemoration, such as Chiang Kai-shek's funeral in 1975 in Taipei. In focusing on this one specific event in the life of a "puppet government" then, this paper hopes to re-ignite scholarly interest in the study of "dead leaders" and their posthumous lives in modern Chinese history more generally.

This article examines the creation and use of gendered archetypes by the Provisional Government of the Republic of China (PGROC), the first collaborationist government established in China following the Japanese invasion of 1937. Drawing on a wide range of visual sources, it traces how this regime's messages about where women 'belonged' in an occupied China resulted in the creation of unique and complex archetypes which were deployed to convince Chinese women of the advantages of PGROC rule. Chief among these archetypes was the figure of the 'PGROC new woman'. I show how this figure developed in PGROC poster art and propaganda, and eventually in film, as well as how it evolved out of early wartime and pre‐war precedents. In addition to detailing the uses and meanings of this (and other) archetypes, the article suggests that comparative analyses of gendered archetypes of collaboration developed in cognate regimes during the same period can help shed light on the extent to which the peculiar circumstances of wartime collaboration often resulted in specific ideas by male collaborationist leaders about the roles women were expected to play under occupation.

This article examines the creation and use of gendered archetypes by the Provisional Government of the Republic of China (PGROC), the first collaborationist government established in China following the Japanese invasion of 1937. Drawing on a wide range of visual sources, it traces how this regime's messages about where women 'belonged' in an occupied China resulted in the creation of unique and complex archetypes which were deployed to convince Chinese women of the advantages of PGROC rule. Chief among these archetypes was the figure of the 'PGROC new woman'. I show how this figure developed in PGROC poster art and propaganda, and eventually in film, as well as how it evolved out of early wartime and pre-war precedents. In addition to detailing the uses and meanings of this (and other) archetypes, the article suggests that comparative analyses of gendered archetypes of collaboration developed in cognate regimes during the same period can help shed light on the extent to which the peculiar circumstances of wartime collaboration often resulted in specific ideas by male collaborationist leaders about the roles women were expected to play under occupation.

AbstractThis paper explores the development of the Wang Jingwei personality cult during the Japanese occupation of China (1937–1945). It examines how the collaborationist Chinese state led by Wang sought to distinguish its figurehead from the person he had replaced, Nationalist leader Chiang Kai-shek. Drawing on visual, archival, and published sources, it traces the development of the Wang cult from the early years of the war, and argues that the unusual context in which the cult evolved ultimately undermined its coherence. The case of Wang Jingwei illustrates how the Chinese case more broadly can enhance our understandings of personality cults that develop under occupation. To this end, I compare the Wang regime with various European "collaborationist" governments that sought to promote their leaders in similar ways.

This paper explores the development of the Wang Jingwei personality cult during the Japanese occupation of China (1937–1945). It examines how the collaborationist Chinese state led by Wang sought to distinguish its figurehead from the person he had replaced, Nationalist leader Chiang Kai-shek. Drawing on visual, archival, and published sources, it traces the development of the Wang cult from the early years of the war, and argues that the unusual context in which the cult evolved ultimately undermined its coherence. The case of Wang Jingwei illustrates how the Chinese case more broadly can enhance our understandings of personality cults that develop under occupation. To this end, I compare the Wang regime with various European "collaborationist" governments that sought to promote their leaders in similar ways.

The work of Chinese cartoonists who published their illustrations in the popular press in occupied China from 1937 to 1945 has largely escaped the attention of scholars of both the occupation itself and the broader field of cartoon history. This article seeks to fill this gap in the literature by analyzing how the very nature of the occupation, together with efforts undertaken by collaborationist governments such as that of Wang Jingwei, created a context in which a particular body of artists could continue to draw. In so doing, the article raises questions about the place of "collaborationist" cartoonists in the broader development of art and propaganda in China and about the very nature of collaboration in the Chinese context.