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20 Dagnostaw Demski and Ildikó Sz. Kristóf its cartoons expressed the policies of the newly formed Sudetendeutsche Partei (1935-1938), inspired by the German NSDAP and taking instructions from Nazi Germany. Karliéek has found that the propaganda of the pro-totalitarian SdP divided local society into those who sympathized with them and those who seemed enemies of its policies. Accordingly, a group of “Us” and a group of “Them” was created in and by the cartoons of Der Igel, especially between 1935 and 1938, as the pair of traditional national symbols of the Germans and the Czechs (the figure of Michael and Wenzel) had lost its significance. The former group contained the imaginary group of the Germans’ so-called National Community, and the latter group seemed to comprise all the enemies: the political activists of the various leftist parties, “traitors,” Czechs, emigrants, Jews, inhabitants of the colonies, as well as other sorts of Others. The fifth chapter entitled Political Eyes: From Distant to Close Others still remains in the political sphere of competition but discusses its manifestations in the various registers of everyday life that have been connected to images. Edina Kicsindi, in her “Reinterpreting the Distant Other in Nineteenth-Century Hungarian Political Cartoons,” investigates the ways of representing African natives in humorous newspapers such as Borsszem Jankó, Bolond Istók, and Az Üstökös published in Hungary. According to her analysis, the colonial period constructed a different kind of Other whose form was later transformed. Kicsindi focuses on the local, Hungarian characteristics of the process of arriving from the distant Other to the closer one, and discovers particular visual/narrative traits that remain intact but take on new meaning in the process. She analyzes how, according to the findings of earlier post-colonial studies, the image of the noble savage and the native warriors’ proud aggression have become reinterpreted to signify cruelty and bestiality, and how purity emphasized formerly has come to form the profile of primitivism. She has found accordingly that in the Hungarian press of the second part of the period, the figures of politicians represented as Africans have come to depict political corruption. Barbara Derler’s “Constructions of Otherness: The Establishment of Studio Photography and the (Non-)Visibility of Muslim Women in Sarajevo Until World War I” studies visual representations made for a Western, that is, foreign, and politically dominant, audience. She develops non-visibility as a crucial concept to discuss the ways foreign photographers have dealt with their subjects in Sarajevo. Commenting upon Edward W. Said’s and others’ post-colonial approach, Derler argues that the photographers’ view reveals asymmetrical power relations between them and their clients/the portrayed people. She shows how each kind of visual representation— postcards, souvenir cards, and studio portraits—demanded different strategies of representation depending on the audience. Photography in Sarajevo seems to have functioned according to a basic opposition: the overall modernization processes initiated by the Austro-Hungarian dominant culture, on the one hand, and, on the other, the emphasis of the photographers on the Oriental Muslim element in the
