The collector:

Michael Wolf has lived in Hong Kong for eight years and works as a photographer for Stern. He collects posters and photographs from the period of the Cultural Revolution till today. (http://www.photomichaelwolf.com)

The authors:

Anchee Min was born and raised in Mao’s China. A staunch party supporter, she was awarded the lead role in a film to be made by Mao’s wife, Jiang Ching, but the death of Mao soon after caused the film to be cancelled. In 1984, Min emigrated to the United States and later wrote the bestselling biography Becoming Madame Mao.

Poet and fiction writer Duoduo was born in Beying, China in 1951 and emigrated in 1989, later settling in the Netherlands, where he became a writer in residence at the Sinological Institute of Leiden University. He is considered one of the most outstanding poets to emerge after the Cultural Revolution.

Stefan R. Landsberger holds a PhD in Sinology from Leiden University, Netherlands. He is a Lecturer at the Documentation and Research Centre for Modern China, Sinological Institute, Leiden University, and one of the editors of the journal China Information. Landsberger has one of the largest private collections of Chinese propaganda posters in the world. He has published extensively on topics related to Chinese propaganda, and maintains an extensive website exclusively devoted to this genre of political communications (http://www.iisg.nl/~landsberger).

Amazon.com Review

Besides reproducing the stunning, otherworldly beauty of Michael Wolf's massive Chinese propaganda poster collection so brightly it practically gives you a suntan, his book gives you a sense of how the illiterate masses used these images instead of newspapers and TV to get the news and define themselves. In the introduction, the brilliant Anchee Min explains how the 1974 poster of a pigtailed girl heroically posed amid martyrs made Min change her own look, which got her recruited by Madame Mao to star in a propaganda film. Soon Min appeared in a poster--or rather, Min transformed, muscularized, rendered in shining primary colors. As you page through the hundreds of posters, you see how nimbly the artists handle symbolism and composition, favoring right angles (Mao rising rocketlike from the horizon of the marching populace) and diagonals (citizens' rifles form an X pattern echoed in the next panel by the US jets they've downed, as Mao crows, "The atom bomb is a paper tiger the US reactionary uses to scare people! It looks terrible, but in fact, it isn't."). Dong Cunrui, who used his body as a post supporting explosives to blow up a bridge, is a common vertical image, balanced by the dramatic diagonal pose (so like Captain America) of Huang Ji-guang, who blocked US machine guns with his body in Korea. Whenever a poster shows a young guy or girl at an angle, battling waves or giving a running dog a noogie, the image quotes Ji-guang, the visual equivalent of a rap sample of an old-school riff. This book should've been arranged chronologically; instead, it's whimsically structured to correspond with the chapters of Mao's Red Book. Even so, you can't miss the amazing shift that came around 1980: unisex suits give way to flashy Western clothes, prim pigtails to windblown coifs, tanks to TV sets and snazzy fridges, socialist realism to Norman Rockwell and Seattle World's Fair futurism. --Tim Appelo