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Appearances of Argentine Marxist revolutionary Che Guevara (1928–1967) in popular culture are common throughout the world. Although during his lifetime he was a highly politicized and controversial figure, in death his stylized image has been transformed into a worldwide emblem for an array of causes, representing a complex mesh of sometimes conflicting narratives. Che Guevara's image is viewed as everything from an inspirational icon of revolution, to a retro and vintage logo. Most commonly he is represented by a facial caricature originally by Irish artist Jim Fitzpatrick and based on Alberto Korda's famous 1960 photograph titled ''Guerrillero Heroico''. The evocative simulacra abbreviation of the photographic portrait allowed for easy reproduction and instant recognizability across various uses. For many around the world, Che has become a generic symbol of the underdog, the idealist, the iconoclast, or the martyr. He has become, as author Michael Casey notes in ''Che's Afterlife: The Legacy of an Image'', "the quintessential postmodern icon signifying anything to anyone and everything to everyone."〔(Brand Che: Revolutionary as Marketer's Dream ) by Michiko Kakutani, The New York Times, April 20, 2009〕 Che Guevara's likeness has undergone continual apotheosis while being weaved throughout the public consciousness in a variety of ways. From being viewed as a "Saintly Christ-like" figure by the rural poor in Bolivia where he was executed, to being viewed as an idealistic insignia for youth, longing for a vague sense of rebellion. His likeness can also be seen on millions of posters, hats, key chains, mouse pads, hoodies, beanies, flags, berets, backpacks, bandannas, belt buckles, wallets, watches, wall clocks, Zippo lighters, pocket flasks, bikinis, personal tattoos, and most commonly T-shirts. Meanwhile, his life story can be found in an array of films, documentaries, plays, and songs of tribute. Throughout television, music, books, magazines, and ironically even corporate advertisements, Che's visage is an ever-present political and apolitical emblem that has been endlessly mutated, transformed, and morphed over the last forty years of visual popular culture. This allows Che to operate as "both a fashionable de-politicized logo, as well as a potent anti-establishment symbol used by a wide spectrum of human rights movements and individuals affirming their own liberation."〔(Che to Che: Sexual Politics in Chile ) by Carmen Oquendo-Villar, for Harvard's ''David Rockefeller Center for Latin American Studies''〕 Additionally, his face has evolved into many manifestations and represents a Rashomon effect to those who observe its use. To some it is merely a generic high street visual emblem of global marketing, while to others it represents the notion of dissent, civil disobedience, or political awareness. Conversely, to those ideologically opposed to Che Guevara's belief in World revolution, or to those that resent his veneration because of his violent actions, his propagation represents shallow ignorant kitsch, idolatry worthy of spoof makeovers, parody, or even ridicule. Despite the competing narratives, Che has become a widely disseminated counter-cultural symbol that sometimes even operates entirely independent of the man himself. Hannah Charlton of ''The Sunday Times'' made note of the varying uses by postulating that "T-shirt wearers might wear Che's face as an easy replacement for real activism, or as a surrogate for it."〔"Che Guevara: Revolutionary & Icon", by Trisha Ziff, Abrams Image, 2006, pg 8〕 ==Genesis== Walk through any major metropolis around the globe and it is likely that you will come across an image of Che Guevara, most commonly a stylized version of Korda's iconic ''Guerrillero Heroico''. An archetype, capable of endless visual regeneration which, depending on your opinion, either helps tell the story of 20th century visual literacy or kitsch banality. According to Hannah Charlton, editor of ''Che Guevara: Revolutionary and Icon'', "By the 1990s the global market saw the emergence of what Naomi Klein has called a "market marsala"—a bilingual mix of North and South, some Latin, some R&B, all couched in global party politics."〔"Che Guevara: Revolutionary & Icon", by Trisha Ziff, Abrams Image, 2006, pg 11〕 By embodying corporate identities that appear radically individualistic and perpetually new, the brands attempt to inoculate themselves against accusations that they are selling sameness. The next stage is to present consumption as a code, where mega brands, supposedly reflecting the "indie" values of their purchasing audience, can do so with a knowing irony that of course the buyer can remain seemingly untouched by the corporate values underpinning the transaction.〔 Enter Che: the 1960s symbol of student revolution, the all-pervasive ascetic gaze used to add allure and mystique to a product, because either a sophisticated audience is savvy enough to distinguish between revolution and commerce while enjoying the irony, or oblivious of who he is or what he represents. This began the metamorphosis from Che the martyred resistance fighter beloved by many, and Che the violent Marxist revolutionary despised by others, to his dual paradoxical position in the global corporate capitalist culture. The commodification of the image has been ongoing since his death, and since the late 1990s has seen a resurgence. UCLA art historian David Kunzle, has described the phenomenon by noting "if you go to Havana today, you will not see Che with a gun, you will see him with a rose or a dove. He's become the Gandhi of Cuba."〔 This abiding 'renaissance' of Che's visage, is chronicled by filmmaker and Guggenheim scholar Trisha Ziff, who explores the genesis, continuing adaptation, and history of Che Guevara's famous image in the 2008 documentary ''"Chevolution"''.〔(Tribeca Review: Chevolution ) by Joel Keller, April 27, 2008.〕 In another documentary titled ''Personal Che'' (2007), filmmakers Adriana Marino and Douglas Duarte document the numerous ways that people around the world re-create Che in their own image.〔(Official Website of ''Personal Che'' ) directed by Adriana Mariño & Douglas Duarte〕 Hannah Charlton hypothesizes that "appropriating the aura of Che for brand building, has now given rise to a new resurgence of "Che-ness" that transcends branding in its global appeal. In the shifting complexities of intercultural values, in the search for universal images that can speak across borders and boundaries, today's global image of Che is the most successful."〔"Che Guevara: Revolutionary & Icon", by Trisha Ziff, Abrams Image, 2006, pg 12〕 The Che face, more than any other icon according to Charlton, can keep accruing new application without relinquishing its essence – a generic and positive version of anti-status quo and liberation from any oppressive force, and a general, romantic, non-specific fantasy about change and revolution.〔 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Che Guevara in popular culture」の詳細全文を読む スポンサード リンク
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