The Offensive Paintings is an arch and sometimes caustic check out the paintings of political satire as practiced in democratic, monarchical, and authoritarian societies around the world over the earlier century-together with the efforts by governmental, religious, and company authorities to suppress it by censorship, intimidation, protection, and fatwa. Examples are drawn from the full spectrum of satiric genres, along with novels, performs, verse, songs, essays, cartoons, cabarets and revues, movies, television, and the Net. The multicultural and multimedia breadth and historic depth of Freedman's comparative technique frames his novel analysis of the place of political satire in in the current day's submit-Sep eleven world, and notably the cross-cultural controversies it generates, resembling the worldwide protests in the direction of the Jyllands-Posten cartoons.
In a tongue-in-cheek sort peppered with the world's biggest one-liners from the remaining century, The Offensive Paintings recounts the acrimonious and sometimes perilous cat-and-mouse video video games between political satirists and their censors and inhibitors by the use of the remaining century in America (notably FDR, LBJ, Nixon, Reagan, Clinton, and Bush II and in wartime), Britain (notably Churchill, Thatcher, Blair and the Royals), Germany (Hitler to the present), Russia (Stalin to the present), China (Mao to the present), India (from the Raj on), and the Middle East (from Nineteen Twenties Egypt to in the current day). Freedman focuses on the place and transformation of satire all through shifts from authoritarian to democratic strategies in such places as South Africa, Argentina, and Japanese Europe. He surveys the state of satire all via the world at current, determining the most dangerous nations for practitioners of the offensive paintings, and presents his findings as to the political efficacy of satire in scary change.