The relationship between political posters and their intended viewers was the focus of numerous texts in the 1920s; this article analyzes the ways in which Soviet theorists sought to understand this relationship. They operated in an intellectual context that tried to conceive the modern subject as an active consumer and co-creator, rather than a passive audience. Their study of the contexts of viewing, of display practices and of the role of the viewer as an active participant in the creation of meaning, caused concern about the risk of misunderstandings and led to calls for images to address specific audiences with greater clarity. Many imagined that audiences and producers of images were in dialogue with one another, negotiating over the content, form, and function of political art. The image would thus mediate the relationship between individual and state, integrating political messages into everyday life, and aiming to integrate the individual into the process and practice of propaganda.

中文翻译：

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人民与海报：苏联观众的理论化，1920-1931

政治海报与其目标观众之间的关系是 1920 年代众多文本的焦点。本文分析了苏联理论家试图理解这种关系的方式。他们在一个试图将现代主体设想为一个积极的消费者和共同创造者，而不是一个被动的观众的知识背景下运作。他们对观看环境、展示实践以及观众作为意义创造的积极参与者的角色的研究，引起了对误解风险的担忧，并引发了对图像的呼吁，以更清晰地针对特定的观众。许多人认为观众和图像制作者正在相互对话，就政治艺术的内容、形式和功能进行谈判。