The work aims to study the media practice and revolutionary visual construction mechanism of woodcut prints on the covers of Guilin's anti-Japanese war periodicals, and reveal their theoretical significance and contemporary implications for the "political aestheticization" practice of left-wing literature and art. Based on the analysis of periodical archives and woodcut images on the covers of Guilin's war periodicals, the media construction theory was taken as the core and the paradigms of media materiality and symbolic political economy in communication studies were integrated to construct a three-dimensional analytical framework of "technology-symbol-media", revealing how woodcut prints actively constructed the revolutionary visual on periodical covers through material production, symbolic coding, and cross-media dissemination. The media practice of woodcut prints in the cover design of Guilin's anti-Japanese war periodicals ultimately achieved the media construction of the revolutionary visual on periodical covers. As the core visual on the covers of Guilin's anti-Japanese war periodicals, the woodcut, through the mutual construction of materiality and symbolic systems, transforms the periodical covers into ideological devices of "political aestheticization", reconstructing the visual subjectivity of workers, peasants, and soldiers. Its media practice provides a historical paradigm and core logic of "art as combat" for left-wing literature and art, and also expounds the enlightenment and value of the woodcut spirit for contemporary visual design practice.
Key words
woodcut print /
anti-Japanese war periodicals /
cover design /
revolutionary vision /
media construction /
contemporary design
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