During America's active involvement in World War II (1941-45), propaganda was used to increase support for war and commitment to Allied victories. Using a large number of media, propagandists incite hatred against enemies and support for American allies, urging greater public effort for the production of war and garden triumphs, persuading people to save some of their material so that more material can be used for war effort, and selling bonds of war. Patriotism became the central theme of advertising during the war, when large-scale campaigns were launched to sell war bonds, increase efficiency at the plant, reduce bad rumors, and maintain civil morale. The war consolidates the role of the advertising industry in American society, fending off previous criticisms.
Video American propaganda during World War II
Campaign
Initially, the government was reluctant to engage in propaganda campaigns, but pressure from the media, business sector and advertisers who wanted direction persuaded the government to take an active role. Even so, the government insists that its actions are not propaganda, but a means of providing information. This effort was slowly and haphazardly molded into a more united effort of propaganda, though it never reached the level of World War I.
In 1942, President Franklin D. Roosevelt created the Office of Information War (OWI). The middle-level agency joined a number of other wartime agencies, including the War and State Department, in the dissemination of war and propaganda information. Officials at OWI use many tools to communicate with the American public. These include Hollywood movie studios, radio stations and printing presses.
The Writers' War Board is personally organized for propaganda purposes and often acts as a liaison between the government and the authors. Many of the authors involved consider their efforts to be superior to government propaganda, as they consider their material more courageous and more responsive than government efforts. However, the authors both responded to official requests and started their own campaigns.
In 1944 (lasting until 1948), prominent US policymakers launched a domestic propaganda campaign aimed at convincing the American public to accept a harsh peace for the German people. One of the methods used in this campaign is an attempt to remove the commonly held view that Germans and Nazi parties are separate entities. A key participant in this campaign is the Author War Board, which is closely tied to Roosevelt's government.
Maps American propaganda during World War II
Media
Poster
The United States used posters to advertise, and produced more propaganda posters than any other country that fought in World War II. Nearly 200,000 different designs were printed during the war.
These posters use a number of themes to encourage support for the war, including conservation, production, recruitment, home efforts and secrecy. Posters are usually placed in an area with no paid advertising. The most common areas are the post office, railway station, schools, restaurants and retail stores. Smaller poster printed for windows of private homes and apartment buildings. This is a place where other propaganda media can not be used.
The War Information Office (OWI) Bureau of Graphics is a government agency tasked with producing and distributing propaganda posters. The main difference between US poster propaganda and British and other allied propaganda is that most US posters remain positive in their messages. US posters focused on tasks, patriotism and traditions, while other posters of other countries focused on fueling people's hatred of the enemy. Positive messages on US posters are used to increase production in front of the house rather than insuring that "the money raised is not lost." US posters rarely use images of war victims, and even battlefield scenes become less popular, and are replaced by commercial images to meet the "consumer" needs for war.
War poster was not designed by the government, but by artists who did not receive compensation for their work. Government agencies held a competition for artists to submit their designs, allowing the government to increase the number of designs to choose from.
Ads
Many companies run ads that support the war. This helps keep their name publicly even if they do not have a product to sell, and they are allowed to treat this ad as a business expense. The War Advertising Board helps oversee these efforts. Automakers and other manufacturers who retooled the war effort took ads that illustrate their efforts. Other companies connect their products in some way with the war. For example, Lucky Strike claims a change from green to white in its packaging is storing bronze for weapons, and, as a result, seeing its sales skyrocket. Coca-Cola, as do many other soft drink producers, describes its products drunk by defense workers and members of the armed forces. Many commercial advertisements also urged the purchase of war bonds.
Most of the war effort is determined by the advertisement, and the armed forces abroad prefer magazines with full ads rather than a slimmer version without them.
Comic books and cartoons
Just as it is done today, editorial cartoonists seek to influence public opinion. For example, Dr. Seuss supported Interventionism even before the attack on Pearl Harbor.
Strip comics, such as Little Orphan Annie and Terry and the Pirates, introduce the theme of war into their stories. Even before the war, sabotage and subversion were common motives in action-oriented strips.
Many superheroes are shown against spies or Axis activities in America and elsewhere. A comic book depicting Superman attacking Westwall Germany was attacked in the trouble of the Das Schwarze Corps, the SS weekly newspaper, with Jewish creator Jerry Siegel giving a prominent concern.
In 1944, after being praised by Ernie Pyle, Bill Mauldin cartoons were syndicated in the United States. This effort is supported by the Department of War because of Mauldin's grimmer depiction of daily military life in his cartoons. Mauldin cartoons not only publish ground troop efforts, but they make war seem bitter and heavy, helping convince Americans that victory will not be easy. While the cartoons eliminated the massacre, they demonstrated the difficulty of war through the depiction of the disheveled soldiers, and the sad and empty eyes. This helps generate ongoing support for troops, by conveying the difficulties of their daily experience.
Leaflet
Leaflets can be dropped from the aircraft to populations in locations not accessible by other means; for example, when residents are afraid or can not listen to foreign radio broadcasts. As such, the United States extensively uses flyers to convey brief information. In fact, a squadron of B-17 bombers is completely dedicated to this end. Leaflets are also used against enemy troops, providing "safe behavior trajectories" that enemy forces can use to surrender as well as ration books, stamps and counterfeit currencies. The enormous scale of leaflet operations has an effect on enemy morale, showing that Allied armaments industry is so productive that aircraft can be diverted for this purpose.
The use of leaflets against Japanese troops was a bit influential. Many civilians in Okinawa issued a pamphlet stating that prisoners would not be harmed. As American aircraft can reach the Japanese home islands, leaflets have improved, giving "advance notice" the bombings ensure that leaflets are read aloud despite a ban. These pamphlets stated that they did not want to harm civilians, only military installations, and that bombings could be stopped by demanding new leaders who would end the war. After the atomic attack, more pamphlets were dropped, warning that America has more powerful explosives. When the Japanese government later offered to surrender, the US continued to drop pamphlets, notifying the Japanese about their government's offer and that they had the right to know its terms.
The American History Association G.I. Roundtable Series pamphlets are used to facilitate the transition to a postwar world.
Radio
In the United States, radio is used extensively for propaganda so it goes beyond the use of other media normally used against other countries. President Roosevelt's roar talk is an excellent example of using this radio. In February 1941, the Norman Corwin series This was the War broadcast across the country and, by shortwave, all over the world. The use of other significant radios abroad included a message to the Italian Navy, which persuaded him to surrender. The CBS Radio counterpropaganda series Our Secret Weapons (1942-43), featuring the author Rex Stout representing Freedom House, monitors the Axis shortwave radio propaganda broadcast and refutes the most entertaining lie of the week.
In 1942-1943 Orson Welles created two series of Radio CBS which was considered a significant contribution to the war effort. Halo America is produced under the auspices of the Office of the Coordinator of Inter-American Affairs to promote inter-American understanding and friendship during World War II. Ceiling Unlimited , sponsored by Lockheed-Vega Corporation, was conceived to glorify the aviation industry and dramatize its role in World War II.
The international radio network CBS continues to support the cultural diplomacy initiatives of the Department of Foreign Affairs and the Office of the Coordinator of Inter-American Affairs throughout the 1940s. Included in this effort was a live broadcast to North and South America from Viva America show, featuring Edmund A. Chester's journalistic skills and artistic talents Alfredo Antonini, Terig Tucci, Nestor Mesta Chayres and John Serry Sr.
Since radio is often a "live" medium, there are limitations. The broadcasters were warned not to cut the ad with the line, "and now for some good news," and the journalists were instructed not to describe the bombings appropriately so the enemy could say what they hit, for example, they declared "the building next to the one I stood on top, "not" First National Bank. " While audience participation and man-on-the-street programs are very popular, the announcer realizes that there is no way to prevent enemy agents from being selected, and this is stopped. Many broadcasters use the theme of war into their program in such a way that they confuse the targeted audience. As a result, Radio War Guides encourage broadcasters to focus on the selected theme.
At first the Japanese population could not receive radio propaganda because the short wave receivers were banned in Japan. However, Saipan's arrest not only shocked Japan for being invincible, but allowed Americans to use medium wave radios to reach the Japanese islands.
Books
Books are more often used in post-combat consolidation phases than in combat, primarily because of their indirect intentions, to form the thinkers who will shape public opinion in the postwar period, and therefore books have more long-term options. influence rather than direct effect.
And some topics are considered off limits. Books about submarines are pressed, even those drawing about general knowledge and made with the help of the navy. In fact, efforts are made to suppress even fictional stories involving submarines. As fiction grows less popular, bookstores promote non-fiction war books.
A few weeks after D-Day, the bookcase landed in Normandy to be distributed to French booksellers. The same amount of American and British efforts are included in this submission. Books have been hoarded for this purpose, and some books have been specifically published for it.
Movies
Hollywood film studios, obviously sympathetic to the cause of the Allies, immediately adapted standard and serial plots to show the Nazis instead of the usual gangster criminals, while the Japanese were described as animals, incapable of reason or human qualities. Although Hollywood lost access to most foreign markets during the war, it can now use Germany, Italy and Japan as criminals without diplomatic protests or boycotts. Many actors like Peter Lorre, Conrad Veidt, Martin Kosleck, Philip Ahn and Sen Yung specialize in playing Axis spies, traitors and soldiers. The irreplaceable film worker received a delayed draft to allow them to continue producing pro-Allied films.
In the early '40s, when the war began to become important in Europe, the goals of Hollywood studios were still to entertain. Many of the productions are musical, comedy, melodrama or western. Large studios maintain their neutrality and show on the same isolationist sentiment screen as their audience. After noticing President Franklin D. Roosevelt's concerns about US foreign policy, fascism began to be reported on screen by Hollywood. After the Japanese attacked Pearl Harbor in 1941, the studios fully supported the Allied objectives and demands. Patriotic propaganda is seen as beneficial by Hollywood, and it helps change the social and political stance of the state while functioning as a national policy instrument.
Most of the films produced have a background of war, even if their story is a complete discovery. However, there are photographs that are made specifically in relation to past events, or even current events from the time periods that make the release of the movie synchronized with events in real life. For example, an Academy Award winner for Best Picture Casablanca, is a film released in the context of American attitudes toward Vichy and Free French Forces. This image is considered anti-Vichy, but there is a strong debate about the fact that this position represents or not from the policies of the American government. This film was one of Hollywood's most important productions during wartime, and it also strongly represented the role and position of the studio during World War II.
War occurs at a time of important national conflict: racial segregation. White America is united in the cause but in the Black America, there is opposition. While Roosevelt described the purposes of Allied War as democratic, Walter Francis White, executive secretary of the National Association for the Advancement of Colored People (NAACP), said that colored people must "fight for the right to fight". Many blacks weigh their loyalty to the state against loyalty to their race. To address the issue of identity, the Information Office of War (which has control and influence on the content and subject of American films.) Decided to collaborate with Black leaders to try to improve color depictions of people in Hollywood and gain their support for the Allies. cause, but it fails.
Hollywood's earliest production to insinuate one of the Axis governments is You Nazty Spy! A Three Stooges short song was released on 19 January 1940, insinuating Hitler (Moe Howard as "Moe Hailstone"), Goering (Curly) Howard as "Field Marshal Gallstone") and Goebbels (Larry Fine as "Larry Pebble" ), nearly two years before the attack on Pearl Harbor.
The 1941 Nazi offensive in the Soviet Union produced pro-Russian films. The war also generated interest in news and documentary films, which were unable to compete with pre-war entertainment films. American allies are no longer allowed to be portrayed negatively in any way.
At the request of General George C. Marshall, Chief of Staff of the US Army, Frank Capra created a documentary series used as an orientation film for new recruits. Capra designed the series to illustrate the enormous dangers of the Axis conquest and the corresponding justice of the Allies. The
At the urging of President Roosevelt, Why We Fight was also released to theaters for the general public. In England, Churchill ordered the entire sequence to be displayed to the public.
Movies are also useful in propaganda messages that can be incorporated into entertainment films. The movie of 1942 Madam. Miniver describes the experience of a British housewife during the Battle of Britain and urges the support of both men and women for war effort. It rushed to the cinema on Roosevelt's orders.
Furthermore, the 1943 movie "The Negro Soldier", a government-produced documentary film also directed by Frank Capra, challenges racial stereotypes in the ranks. Its popularity allows it to switch to a major distribution.
The 1944 film The Purple Heart was used to dramatize the Japanese cruelty and heroicity of American leaflets.
Animation
World War II changed the possibilities for animation. Before the war, animation was seen as a form of childish entertainment, but that perception changed after Pearl Harbor was attacked. On December 8, 1941, the US Army immediately began working with Walt Disney. Army personnel were stationed in his studio and lived there during the war. A military officer is actually based in Walt Disney's office. The US Army and Disney started making different types of films for different audiences. Most of the movies are meant for the public including some kind of propaganda, while films for troops include training and education on a particular topic.
Movies intended for the public are often intended to build morale. They allow Americans to express their anger and frustration through ridicule and humor. Many movies only reflect the culture of war and pure entertainment. Others carry powerful messages intended to generate public engagement or regulate public affairs. Cartoons like Bugs Bunny Bond Rally and Foney Fables encourage viewers to buy war bonds, while Happy Daffy scrap encourages old iron donations, and Disney's > The Spirit of '43 invokes viewers to pay their taxes.
The US and Canadian governments also use animation for training and instructional purposes. The most complicated training films produced, Stop That Tank !, was commissioned by the Directorate of Military Training of Canada and created by Walt Disney Studios. Troops became familiar with Private Snafu and Lance Corporal Schmuckatelli. This fictitious character is used to provide safety briefs and guidance on soldiers about expected behavior, while often describing behavior that is not recommended. The Short Spies describes a drunken Private Snafu giving secrets to a beautiful woman who is really a Nazi spy. Through the information he gave him, the Germans were able to bomb the private Snafu boat traveling, sending him to hell.
Animation is increasingly used in political commentary on axis powers. Der Fuehrer's Face is one of Walt Disney's most popular propaganda cartoons. It mocks the German Hitler by describing Donald Duck dreaming that he was a German war worker, eating breakfast only by spraying bacon and egg scents onto his breath, dipping a coffee bean into his water cup, and eating stale bread or having wood in it , he should see a piece. Disney and the US Army want to depict the Germans living on the ground that is the facade of the beautiful promises made by Hitler. The cartoon producers also wanted to show that the working conditions in German factories were not as beautiful as Hitler had made in his speech. In the film, Donald works continuously with little compensation and no rest time, driving him crazy. In the end, Donald awakens from his nightmare and is forever grateful he is a citizen of the United States. Education for Death is a very serious film based on the bestselling book of the same name by Gregor Ziemer. The film shows how a young man in Nazi Germany was indoctrinated and brainwashed at an early age and learned to believe everything the German government said to him. While this brief education, it also provides comic relief by taunting Hitler. However, the film shocked its content and despaired at the end of the story, depicting the deaths of a number of boys who are now German soldiers.
Magazines
Magazines are a favorite propaganda propaganda tool, as they are widely circulated. The Government issued the Magazine War Guide which included tips to support the war effort. Women's magazines are a favorite place for propaganda aimed at housewives, especially Ladies' Home Journal . The magazine editor was asked to describe the woman as a man who overcame vigorously with the sacrifice of the war time. Fiction is a well-liked place, and is used to form subtle attitudes. Ladies' Home Journal and other magazines also promote women's activities in armed services.
The pulp magazine industry is very supportive, if only to prevent them from being considered unimportant for war effort and terminated during the war. The War Information Office distributes guides to writers for Western genres, adventures, detectives, and other dispersed genres with possible storylines and themes that will aid the war effort. Among the suggestions was a "cheerful" detective about following a suspect without using a car, a woman working in traditional male jobs, the importance of a 35 mile per hour speed limit and carpooling, and good Chinese and English characters.
Newspapers
Newspapers were told that government press releases would be correct, and did not give help and comfort to the enemy - but the latter was not considered a prohibition to issue bad news. However, partly through the cooperation of supportive journalists, the Office of Censorship (OOC) managed to remove negative news and other items useful to the enemy - such as weather forecasts - although OOC and other agencies have not managed to completely cut news in a positive and motivated way moral. Indeed, some government officials have found that both newspapers and radio use news that is not broadcast from Vichy France and Tokyo.
Themes
As in Britain, American propaganda portrays war as an issue of virtue versus crime, allowing the government to encourage its citizens to fight "just war," and to use the theme of resistance and liberation to the occupied countries. In 1940, even before being withdrawn into World War II, President Roosevelt urged every American to consider its effect if the dictatorship prevailed in Europe and Asia. Precision bombing is praised, exaggerating its accuracy, to convince people of the difference between good and bad bombing. Hitler, Tojo, Mussolini and their followers are villains in American movies, even in cartoons where characters, such as Bugs Bunny, will defeat them - a practice that started before Pearl Harbor. Cartoons depict Axis leaders are not human.
Roosevelt stated that the war against dictatorship should take precedence over the New Deal.
Artists and writers are very divided on whether to encourage hatred against the enemy, which leads to debate. Governments rarely intervene in such debates, only occasionally suggesting a line for the art to take. However, OWI suggests a plot line using an Axis agent replacing the traditional rogue role, such as a rustler in Western.
In a speech, Henry Wallace called for a postwar effort to psychologically disarm the forces of the Axis, which required the school to undo, as far as possible, poison the children's minds by Hitler and the "Japanese warlords." Two days later, an editorial cartoon. Seuss shows Uncle Sam using a bellows to repel germs from the mind of the "German boy," while holding the "Japanese" child ready for the next treatment.
Anti-German
Hitler is often depicted in mock situations, and editorial cartoons usually portray him in caricatures. Hitler's dictatorship was often dismissed. To boost morale, even before the war turned to support the Allies, Hitler often appeared in editorial cartoons as damned. He and the Germans are described as fools. For example, in an editorial cartoon by Dr. Seuss, a German father scolded his hungry son, told him that the Germans ate the country, not food.
Nazi Germany is treated as the worst crime in Poros, a greater threat than Japan and Italy. To combat the much greater desire in the United States to invade Japan, operations at the North African theater were held, despite a military counterattack, to increase support for attacking Germany. Without such involvement, public pressure to support more war in the Pacific may have proved unbearable for American leaders.
The Germans are often stereotyped as evil in films and posters, although many atrocities are specifically thought to have originated from the Nazis and Hitler in particular, not to undifferentiated Germans.
The alternative historical novel describes the Nazi invasion of America to stir up support for intervention.
The Writers' War Board compiled a list of books prohibited or burned in Nazi Germany and distributed them for propaganda purposes, and thousands of book burning warnings were staged.
Anti-Italian
Mussolini also appeared in a situation that taunted him. The editorial cartoon depicts it as a two-bit dictator. Italians are often stereotyped as evil in movies and posters.
Anti-Japanese
Propaganda depicts Japan more than any other Axis force as a foreign enemy, strange and uncivilized. Drawing on Japanese samurai traditions, American propagandists portray Japan as fanatical and cruel, with a history of wanting an overseas conquest. Japanese propaganda, such as Shinmin no Michi or The Way of the Subjects, called for the Japanese people to be "one hundred million hearts to beat as one" - the Allied propagandists used to describe Japan as unwarranted and unified masses. Cruelty is considered to come from the Japanese as a whole. Even the Japanese-Americans would be described as massive Japanese supporters, just waiting for a signal to sabotage. Japanese cruelty and their fanatical refusal to surrender support the depiction of racist elements in propaganda.
Even before the Attack on Pearl Harbor, the record of cruelty in China sparked a sense of antipathy towards Japan. It originated from as early as the Japanese invasion of Manchuria, when the accounts were received from Japanese troops to bomb the civilian population, or to shoot the survivors. Books such as Pearl Buck's
Propaganda based on attack on Pearl Harbor is used quite effectively, because the results are very large and impossible to resist. Initial reports refer to it as "silent attacks" and "unknown behavior". "Remember Pearl Harbor!" became the motto of war. Reports of US prisoner abuse also provoked outrage, as well as reports of atrocities against indigenous people, with babies thrown into the air to be caught in the bayonets received special attention. When three of the Doolittle Raiders were executed, it evoked a passion for revenge in America, and the image of "Japanese apes" became common in movies and cartoons. The Purple Heart film dramatized their story, with a pilot giving a closing speech that he now knows that he has understood Japan less than he thinks, and that they do not understand Americans if they think it will frighten - fear them. The diary of a dead Japanese soldier, containing an entry calmly recounting the execution of a fallen pilot, was given an ample game as a demonstration of the true nature of the enemy.
Japan's remarkable early success brings "Myth" Superman's "Exploding" pamphlet to counter its effect The limitation of Japanese troops quoted, though small, is a real drawback to fighting the impression that GI has Japanese military skills.The Doolittle Raid is staged after urging from Roosevelt to counterattack , if only for moral reasons.
The Japanese call for devotion to death is used to present war of extermination as the only possibility, without question whether it is desirable. One Marine unit was given an explanation: "Every Japanese has been told that it is his duty to die for the emperor." It is your duty to see that he does it. " Suicide in Saipan - women, children, and parents and conflicting people - only reinforces that belief. The overwhelming defeat of Japan is debated in magazines to prevent the resurrection, as happened in Germany after World War I, Japanese military power or ambition. It encourages American troops to attack civilians, with the belief that they will not surrender, which feeds into Japanese propaganda about American atrocities.
Hirohito and the undifferentiated "Japs" are often depicted in caricatures. Editorial Cartoon Dr. Seuss, who often portrays Hitler and Mussolini, chooses a "Japanese" figure instead of a given leader.
One OWI suggestion to adapt the formula "porridge" is the sporting story of a professional baseball team who toured Japan, which will allow writers to show Japan as being cruel and incapable of doing sports.
American popular songs at the time included "We Have to Slap a Dirty Little Jap," "Taps for Japan," "We'll Nip the Nipponese," "We'll play the Yankee Doodle in Tokyo," and "You are Sap, Mr. Jap. " The wartime filmmakers embellished the characteristics of Japanese culture so that Americans would feel scandalously foreign.
At the beginning of the war, artists depicted Japan as distant children, children bumpy, harmless. Indeed, many Americans believe that Germany has convinced the Japanese to attack Pearl Harbor. As the war progresses, Japanese soldiers and civilians will be portrayed in the film as an evil and mole-ridden enemy who wants global domination.
In the countries occupied by Japan and forced to join the Greater East Asia Prosperity Zone, the failure to maintain pre-war economic levels, particularly in the Philippines, was quickly used in the propaganda of the "Poverty Sphere Together". "
The leaflets handed down to the Japanese told them of the Potsdam Declaration, which brought the extent of the Allied victory, and the Japanese government peace talks undermined the ability of Japanese hardliners to insist on continuing the war.
Careless talk
Many posters depict careless talk as providing information to the enemy, resulting in the death of the Allies. This effort is used to prevent people with sensitive information from talking about it in which spies or saboteurs can listen in. Posters with this theme convey the reality of war to the general public. This is the main topic supported by the Information Office of War.
Some of these posters contain the most famous slogans of war and many are portrayed by propaganda artist Cyril Kenneth Bird. Other slogans used for this kind of poster are "free speech-free living," "loose lips drowning the ship," "another word of caution, another wooden cross," and "sloppy pieces of talk united by enemy". Stories also emphasize anti-rumor themes, such as when a woman advises others not to talk to a man about her war work, because the woman she dated is unreliable and may be an enemy agent.
Rumors of vendors pacing are blocked on the grounds that it moves the split in America and encourages defeat and alarmism. Alfred Hitchcock directed Have You Heard? , a dramatization of photography about the dangers of hearsay during wartime, for Life magazine.
Victory
Victory and battle heroism are promoted for moral purposes, while losses and losses are not taken into account. Despite his mistakes in the first days of the war, General Douglas MacArthur was presented as a war hero for desperately needing him. The desperate situation in Bataan was diminished, although his downfall caused considerable demoralisation. The Doolittle Raid is done solely to help the spirit rather than cause damage, the purpose being met. After the Battle of the Coral Sea, the Navy reported more Japanese damage than had actually been inflicted, and declared victory, which was also done by the Japanese. The decisive victory at the Midway Battle was on newspaper headlines, but reported with restraint and the US Navy exaggerating Japanese damage. Life warned that Midway does not mean that Japan is no longer attacking.
In 1942, survivors of the Battle of Savo Island were removed from the public circulation to prevent the news from leaking, and the August 9 disaster did not reach the newspapers until mid-October.
Limiting the distribution of bad news causes difficulties with gasoline allotment, because Americans do not realize many tankers are sinking.
Previously, people complained that the government covered the level of damage in Pearl Harbor, although this was partly to keep it from Japan. Japan has a good idea about the damage they are experiencing, so only Americans who do not know anything. A reporter reported, "Seven of the two drowned ships in Pearl Harbor are now reunited with the fleet." Although complaints of news suppression continue, both newspapers and radio take good news and appreciate it, a process that the government does not oppose.
Joseph Goebbels replied to this propaganda to prevent him from affecting Germany, downplaying Corrigidor's defenses and attacking Douglas MacArthur as a coward. This did not work very well, because the Germans knew that it downplayed the American defense and that MacArthur had gone under orders.
The North African invasion generated a moral boost as American troops stalled in New Guinea and the Guadalcanal Campaign.
After Guadalcanal, attention focused on Europe, where Italy was taken, massive bombings struck Germany, and the Red Army continued to advance west.
Wrong optimism
Some propaganda is directed against the expectations of people that it will not be a long and heavy war. Despite the air triumphs in Europe, Dr Seuss portrays Hitler as a mermaid who destroys Allied shipments. The US Department of War supported Bill Mauldin's cartoon syndication because Mauldin made war seem bitter and heavy, suggesting that victory would not be easy. His portrayal of US soldiers with a disheveled and sad appearance, empty eyes convey the difficulty of war.
Death and injury
Until 1944, the war chaos (dead and wounded) was largely undermined by American propagandists, following instructions that enabled them to show some wounded soldiers in the crowd. Later, more realistic presentations were allowed, partly due to popular demand. Previous attitudes supported by the media; for example, NBC warned that broadcasts should not be "too horrible." However, the American public wants more realism on the grounds that they can handle bad news. Roosevelt eventually endorsed photographs of the dead soldiers, to keep the public dissatisfied about the victims of the war.
When the Battle of San Pietro showed dead GIs wrapped in mattress covers, some officers tried to prevent troops in training seeing them, for fear of morals; General Marshall put them aside, to ensure that the soldiers took their training seriously.
OWI emphasizes to return, the soldiers who fought the war that there is a place and work for them in civil life. This promise is also featured in romantic tales, where a sweet and gentle hero will help veterans adjust to civilian life after he returns from war.
War effort
Americans are called to support the war effort in many ways. Cartoons depict people who talk about victory but are obviously sitting around waiting for others to make sure or show how the red ribbon is harming the war effort. Defeatism was attacked, national unity was promoted, and community themes and sacrifices were emphasized. Fictitious figures are sharply divided into villains and selfish heroes who prioritize the needs of others and learn to identify with the defenders of liberty.
Propagandists are instructed to convey the message that people who see propaganda media stand to lose personally if they fail to contribute; for example, calls for women to contribute to a more personalized war effort with personal soldiers depending on their work as their sons, brothers and husbands.
The considerable complications are caused by censorship and the need to prevent enemies from knowing how much damage they are experiencing. For example, Roosevelt's fireplace chat describes the damage in Pearl Harbor as "serious" but he can not "provide any definite damage."
Many artists and writers know that keeping morale is an important thing, but considerable debate arises whether to go for a reckless transfer, or to impress the severity of the war to arouse support.
The fiction writers are encouraged to show their character buying warbond, preserving, planting a victory garden, and acting as war-mindedly; characters can refrain from calling loved ones to avoid phone system tension, or romance will begin when a man and woman are carpooled.
Many stories are made in the era of borders or on family farms, to emphasize traditional virtues such as hard work, innocence, piety, independence, and community values.
Civil defense
The Civil Defense Office was created to tell Americans what to do in the event of an enemy attack. Within a day of the Pearl Harbor attack, it produced pamphlets depicting what to do in the event of an air strike. It also promotes the civil spirit, and its symbols help remind people that war is continuing.
Preservation
Women's magazines contain many tips for housewives about saving purchases, dealing with allotments, and how to cope within a limited supply period. General Mills distributed Betty Crocker's "cookbook" with wartime recipes. A Victory Cookbook describes the principles of wartime cooking, beginning with the need to share food with the fighters. Ladies' Home Journal explains the principles behind sugar rationing, for example, sugarcane can be used to make explosives. Office of Administration Price urges Americans in restaurants to not ask for extra butter or coffee refills. The radio soap opera uses a plot of wartime allotment and condemns the stockpiling.
Rubbers are in very short supply, and rubber rationing has the most profound impact on American life. However, the Rubber Survey Report, produced by a committee to investigate rubber supplies, managed to change public opinion by pointing out good reasons for rationing. Since gasoline is needed to drive military planes and cars, Americans are encouraged to preserve. It also helps preserve the rubber. Carpooling was promoted in a government campaign.
Scrap drives are institutionalized, and supported by government public relations efforts, even before the declaration of war. Programs like Salvage for Victory doubled after the plague. Many private individuals organize and publish some of the most successful memos of the war. President Roosevelt sent a letter to the Scout and Scout groups, urging children to support the drive memo. Cartoons make fun of those who do not collect memos.
Conservation is the biggest theme in poster propaganda, which was one of seven posters during the war. Preserving the materials, in the kitchen and around the home, is one of the top five topics in posters with a conservation theme. Other topics include buying war bonds, planting a victory garden, Office of Price Administration, and allotment. The women are encouraged to help conserve in their cooking, saving fat and fat for explosives, and rationing of sugar, meat, butter, and coffee to leave more for the soldiers. Meat shops and markets distributed bulletins that urged the conservation of waste fat, which could be brought back to the butcher. Because of these posters and other forms of propaganda, the United States recycles 538 million pounds (244kt) of waste oil, 46 billion pounds (21 million) of paper, and 800 million pounds (360 tons) of tin.
People are told to conserve materials used in clothing, resulting in clothing being smaller and shorter. Fiction often depicts a heroine who spends her high wages in fancy clothing, but finds that her soldier's boyfriend does not agree until she finds out that she has a war job. Even then, he wants him back to the clothes he knows before they go out.
Industry
Industries are also asked to preserve. Lucky Strike uses metal in their dye as a justification for turning their packaging from green to white. Before the close of commercial production, cars no longer use chrome.
Production
Even before Pearl Harbor, Roosevelt asked the United States to become a warehouse of democracy in support of other countries that fought with Fascism.
Industrial and agricultural production are the main focus of the poster campaign. Although wartime booms mean that people have money to buy things for the first time since the Depression, propaganda stresses the need to support the war effort, and not spend their money on nonessential goods and thus divert material from the war effort. The last civilian car creation was published in places like Life . The plant is represented as part of the war effort, and greater worker cooperation with urgent management. The story symbolizes such harmony by displaying the romance between a working class war worker and his employer. Cartoons portray labor unrest as Hitler's fun and racial discrimination as preventing the achievement of important work. The fictitious treatment of war problems emphasizes the need for workers to combat absenteeism and high turnover.
Businessmen who set up new businesses for military production are hailed as exemplars of American economic individualism.
After the death of the Sullivan brothers, their parents and sisters paid visits to shipyards and weaponry factories to encourage increased production. The campaign veterans of Guadalcanal, America's first major offensive in the war, were also sent to factories to encourage production and prevent absenteeism.
Economics and industry are strongly emphasized in the US propaganda posters because of the need for long-term production during the war. Factory workers are encouraged to become not only workers, but "Production Army" on the front of the house. These posters are used to persuade workers to take shorter pauses, work longer hours, and produce as much equipment and weapons as possible to increase production for the military. Shipbuilders hung banners to drive the ship to victory .
Increased production resulted in more workers moving into factory cities, trying to get available housing and other facilities. As a result, fiction plots often deal with the needs of homeowners to take dormitories and the need for tolerance and unity between occupants and newcomers.
Garden of victories
The government encourages people to grow vegetable gardens to help prevent food shortages. Magazines like Saturday Evening Post and Life print articles that support it, while women's magazines include instructions for planting. Because planting these gardens is considered patriotic, they are called victory gardens, and women are encouraged to be able to and conserve the food they collect from these gardens. While the US Department of Agriculture provides information, many commercial publishers also publish books on how to plant these gardens.
During the war years, Americans planted 50 million gardens of victory. It produces more vegetables than total commercial production, and is largely preserved, following the slogan: "Eat what you can, and can what you can not." The slogan "grow on its own, can you alone" also encourages the garden of victory to be planted.
Bonds war
During the war, War Bond sales were widely promoted. Originally called "Defense Bonds", they were called "war bonds" after the attack on Pearl Harbor. Many of the nation's artistic talents and best advertising techniques are used to encourage people to buy bonds to keep the program voluntary.
The War Ads Council does its best to convince people that buying bonds is a patriotic act, giving buyers shares in the war. Ads were originally used on radio and in newspapers, but then magazines were also used, with government and private companies producing advertisements. The Writers' War Board was founded for the purpose of writing scripts for advertising war bonds.
Rally and common bond bond drives, and staged on many social events. Teachers hand out flyers to children to enable them to save their bonds by buying war bond stamps.
Marlene Dietrich and many other female movie stars sold many war bonds worth thousands of dollars. Little Orphan Annie radio show urged its young audience to sell war stamps and war bonds. Even product advertisements often contain a slogan, "Buy War Bonds and Stamps!". Signing up in a pay cut plan to buy war bonds is also encouraged through the media.
One hundred fifty five billion dollars in freedom of sale bonds, mostly bought by banks, insurance companies, and corporations. However, individuals bought $ 36 billion in bonds, with children accounting for nearly $ 1 billion.
Female Workers
A major campaign was launched to encourage women to enter the workforce and convince their husbands that this is a proper behavior. Government campaigns targeting women are aimed only at housewives, perhaps because working women can move into "important" high-paying jobs, or perhaps with the belief that housewives will be a major source of new workers. Propaganda is also addressed to husbands, many of whom do not want their wives to work. Fiction also addresses husbands' refusal of their working wives.
The main symbolic figures such as "Rosie the Riveter" and "Mrs. Casey Jones" appeared on posters across the country representing the powerful women who supported their husbands in the war effort. Because all the propaganda that targets women's war tasks, the number of working women jumped 15% from 1941 to 1943. Women are the main character of the home front, which is a major theme in the poster propaganda media, and, as the war progresses, women begin appear more often on war posters. At first, they were accompanied by male colleagues, but then the woman began to appear as a central figure on the poster. These posters are meant to show a direct correlation with home front efforts for war abroad and portray women as directly influencing the war. Radio also broadcast information and appeals, drawing on patriotic calls and the need for such work to save a man's life.
Two major campaigns were launched: "Women in War," to recruit for armed services and jobs related to war; and "Women in Necessary Services", or such jobs as laundry, hermitage at a grocery store and drug store, and other work necessary to support the economy. Books and magazines addressed to women in need of their labor. Many works of fiction depict women working in industries suffering from labor shortages, though generally in more glamorous industries. Major magazines include films, and popular songs all describe female workers.
Female war workers are usually used as a symbol of the front of the house, perhaps because, unlike a male figure, the question of why he does not serve in the armed forces will not be resurrected. In many stories, female workers appear as an example to a selfish woman who is then reformed and gained employment.
Magazines are urged to bring fiction suitable for wartime. For example, True Story softens his Great Depression enmity to working women and displays war work well. In the beginning, it continued a sexual theme, such as tempted women war workers, dealing with married men, or engaging in casual affairs. The Magazine Bureau objected to this as an inhibiting hiring, and argued that war workers should not be shown as more vulnerable to dalliance than other women. As a result, True Story removes such themes from stories featuring women war workers. An ambitious career woman whose life culminates in disasters still arises, but only when motivated by self-interest; while women who work from patriotic motives are able to defend their marriage and bear children rather than suffer from miscarriages and infertility, as working women always suffer in pre-war stories. The story shows that war work can redeem a woman with a dirty past. Saturday Evening Post changed his portrayal of women who work even more: prewar career wives, who ruin completely disappear, and now hire women can also have happy families
The image of the "glamor girl" was adapted to wartime conditions by depicting women in factory work as interesting and blatantly suggesting that a woman could keep up her performance while doing war work. The fictitious romance presents war workers as the winner of the warrior's attention, preferably the girls who live for pleasure. Motives of women warfare workers are often shown as bringing back their men early, or making the world safer for their children. The depiction of women war workers often suggests that they only work for duration, and plan to return home afterwards.
The call for female workers suggests that by doing war work, a woman supports her brother, girlfriend or husband in the armed forces, and speeds up the day when she can return home.
In the armed forces
Women's groups and organizations are asked to recruit women for WACS, WAVES, WASTE and other female branches of the service.
The image of "glamor girl" applied to women in the military, to convince women who joined the military did not make them less feminine. In fictional novels, uniformed women win the hearts of their preferred warriors over women who do not support the war effort.
African Americans: Double V Campaign
The African American community in the United States decides on Double V's campaign: Victory over fascism abroad, and victory over discrimination at home. Large numbers migrate from poor South farming to ammunition centers. High racial tensions in overcrowded cities like Chicago; Detroit and Harlem experienced racial riots in 1943. Black newspapers created a Double V campaign to build a black spirit and stop radical action. Special posters and pamphlets are prepared to be distributed in black environments.
Most of the black women were peasants or prewar households. Despite discrimination and separate facilities throughout the South, they escaped from cotton patches and took blue-collar jobs in cities. Working with the federal Fair Labor Practitioners Committee, the NAACP and CIO unions, these black women fought the "Double V" campaign - against Poros abroad and opposed to limited home-based recruitment practices. Their efforts redefine citizenship, equate their patriotism with war work, and seek equal employment opportunities, government rights, and better working conditions as appropriate conditions for full citizens. In the South black women work in separate jobs; in the West and most of the North they were integrated, but wild strikes erupted in Detroit, Baltimore, and Evansville where white migrants from the South refused to work with black women.
House shot
Much of the entertainment devoted to soldiers is heavy with sentiment and nostalgia, to help maintain morale. In most media, the next-door girl is often used as a symbol of all things American. Betty Grable characterizes her as a woman who gives soldiers something to fight for, but a soldier writes to her that her pin-up photos tell them, in the midst of battle, what they stand for. Songs about the army's program request were not about Rosie the Riveter, but the girls waiting for the soldiers to return. Many such songs are also popular in front of the house. The themes of love, loneliness and separation were given more pain by the war.
German intelligence officers, who interrogated American prisoners, mistakenly concluded that the American view of why they were fighting was for unclear concepts, such as "Mom's pie," and concluded that American soldiers were ideally soft and persuasive to leaving their allies behind.
The stories for the front of the house tell the needs of the soldiers for their lovers and family to remain as they are, because them is what the soldier is fighting for. When the war ends, true stories and fiction often feature women who leave war work to return to their homes and raise children. Women, especially wives whose husbands are at war, and children are often described as what is at risk in war.
Front-front posters also invite ideal Americans, as in the series that states "This America", describes "family is a sacred institution," "where Main Street is bigger than Broadway," and "where a man takes his job". Usually, men are shown as ordinary women but beautiful and glamorous.
Allies
Pro-English
Roosevelt urged support for Britain before the United States entered the war, to gain support for the Loan-Rent Act. Part of this reason is that those who currently fight the axis powers will continue to fight from the United States, if supported.
In propaganda media, posters urged support for Great Britain, while the stock character "The cheerful Englishman" was removed from the film. News films depict Blitz, which shows famous pictures of St Paul's Survives, St. Dome's dome. Paul rises above the flames, and Ed Murrow reports on the impact. The Frank Capra film The Battle of Britain (1943), in the series Why We Fight , describes the RAF fight against Germany. While adorning real-life dogfights, it depicts a frightening night raid, which the English still manage to get through.
Prior to 7 December 1941 and the Japanese surprise attack in Hawaii, a number of Americans in the north and west-central United States sympathized with Nazi Germany or simply opposed another war with Germany because they were of German descent. In addition, many Americans are pro-Nazi Irish-Catholic because they openly hostile to British and British interests. However, South America is very pro-British at the moment, because the southern kinship is felt for England. South Korea is considered a "total failure" for the non-interventionist American First Committee for reasons such as traditional southern pride in the military, pro-British sentiment and Anglophilia due to the dominance of British ancestors among most of the South, political allegiance to Party Democrats and roles defense spending in helping the region's depressed economy.
Pro-Soviet
Describing the Soviet Union in American propaganda was a complicated matter during the war, because the Soviet Union could not possibly be presented as a liberal democracy.
However, Nazi attacks against the Soviet Union inspired the propaganda that benefited him, and Hollywood produced pro-Soviet films. At the urging of Roosevelt, the film Mission to Moscow was created and described the cleansing trials as a fair punishment of the Trotskyite conspiracy. On the other hand, the 1939 Greta Garbo film Ninotchka was not re-released for mocking Russia.
Frank Capra's series Why We Fight include The Battle of Russia . The first part of the film depicts Nazi attacks against the Soviet Union, recounts past failures to attack Russia, and illustrates the scorching Russian tactics of the earth and guerrillas. It also removes all references to the pre-War Molotov-Ribbentrop Pact. The second part of the film depicts Germany being drawn too far into Russia; and mostly concentrated on the Leningrad siege. Indeed, it is unrealistic to describe a major withdrawal to the Russian territory as a deliberate tactic of the Soviet government.
Stories written in the US or Britain are critical of the Soviet Union and its policies are often suspended or unpublished at all because of the need to maintain friendly relations with it. One notable example of this is the anti-Soviet novel by George Orwell Animal Farm , written during the war but can not be published until afterwards.
Pro-Chinese
Support for Chinese people is encouraged in posters. Even before the entry of the United States into war, many Chinese characters appeared on the cover of Time . Japanese propaganda relates this not to the disgust felt by Americans to Japanese atrocities in China, but only more effective Chinese propaganda.
The Frank Capra series Why We Fight includes The Battle of China . It represents a brutal attack on China by Japan as well as atrocities such as Rape of Nanking, which helped galvanize the Chinese resistance to the Japanese occupation. The film also illustrates the construction of Burma Road, which helps keep China in war because Japan has occupied most of the Chinese ports. The film mocks Japanese anti-Western propaganda of "mutual prosperity" and "co-eksiste
Source of the article : Wikipedia
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