Propaganda 100 years of influence by Nick Cook

Propaganda

100 YEARS OF

INFLUENCE

Contents

Introduction

001

What is Propaganda

002

Propaganda Techniques

003

World War 1

005

Posters

007

Style and Design

011

Cinema

013

World War 2

015

Posters

017

Style and Design

021

Nazi Cinema

023

Soviet Cinema

025

Childrens Media

027

East Asia

029

China

031

Japan

035

Korea

037

Vietnam

039

West Asia

041

Iran

043

Modern Era

045

Digital Age

047

Industry Interview

049

Introduction The History and Influence of Propaganda in Print and Media is focused around all things propaganda. Exploring all mainstream areas of propaganda from film, media, print, and spoken word. Important areas that were explored were areas that reached further than peoples general understanding of what propaganda is. Exploring the negative and the positive, and looking into places where people don’t realise propaganda exists like the Middle East, and Asia. Looking into Nazi era propaganda was important as this is major part of the area and is one of most remembered era of propaganda. The main area of interest was poster as this is the main part of the project. As it would shape the way for the final outcome of the project. The aims of the project is to tell a story of the history and progression of propaganda in media and print. The reader will be able follow the process and understand the development of the industry.

By the end of the project the reader should be able to clearly and easily read and understand the project, and be able to follow the progression of the research all the way to the final outcome. They should also be able to fully see why the interviews and research were conducted. When viewing the final designs, they can clearly see where and why the essay, research, and interview has been incorporated into the outcome. The visual communication industry research project consists of research and investigation into Propaganda from all media types. Including Poster, Film, Books and comics, and other paper based designs. The project explores a large proportion of the industry because the project dives deep into the subject to be able to make an informed decision on specific areas.

What is Propaganda Propaganda is a message designed to encourage the audience to think and behave in a certain way. So advertising is commercial propaganda. In speciﬁc, existing and organised spreading of information and/or misinformation, usually to promote a narrow political or religious viewpoint. Originally, propaganda meant an arm of the Roman Catholic Church responsible for 'de propaganda ﬁdei,' propagation of the faith. It acquired negative connotations in the 20th century when dictatorial regimes (mainly Nazi Germany) used every means to distort facts and spread total lies.

The word 'propaganda' did not have the negative meanings it does now, at least for the Catholics who ﬁrst created the word. But it is also realistic to think that it would soon have taken on negative meanings for the Protestants who became aware of what the word meant to the Catholics. Because the committee had the purpose of supporting a particular point of view, or taking one side, on an important issue of church doctrine, it is easy to see how the modern, negative connotations of the word 'propaganda' developed from this original use of the word.

“Edward Bernays, who was one of the pioneers in public relations and a former propagandist in the US Committee on Public Information, once argued that propaganda can serve a very useful function in raising the level of discourse and encouraging positive change. He believed, for instance, that women might not have gained the right to vote in the United States without propaganda. During the Second World War, propaganda also was used to try and save lives, though this had received scant attention. The Ofﬁce of War Information and other propaganda agencies called for local populations to aid Jews or to prevent the persecution or deportation of them. Calling attention to what was happening to a particular group, under threat of destruction, and urging individual or governmental action could be construed as positive propaganda.”

Propaganda Techniques All propaganda can be classified into two groups -- spontaneous and contrived. The spontaneous variety is found everywhere where people talk about their achievements and successes. They do not have to contrive a speech (long or short) to pass this information to others. Rather, when a person graduates, wins lottery-prize, or gets a special honor, he automatically and enthusiastically informs others. This is spontaneous advertising, and is a harmless mode of communication when not indulged in excess. Contrived propaganda, on the other hand, is carefully planned and executed. It is again of two types: informative and manipulative. The informative propaganda aims at bringing facts to people expecting them to respond favorably. An element of persuasion is also sometimes present. Manipulative propaganda on the other hand aims at controlling people's behavior in a specific manner. This prompts them to buy a certain product, think, act and dress in a certain manner, and even to associate themselves with certain movements. The classified advertisements seen in newspapers is an example of educative propaganda. Usually their aim is to inform people about products, services, sales, and educational opportunities. Larger ads dealing with traffic, home safety, energy conservation, etc., also can be considered as educational/ or informational propaganda.

However, advertisements that induce people to smoke, drink, buy a product that is not all that necessary, and that compel people to develop brand loyalties come under the category of mind altering publicity. The same techniques are used by political parties, lobbying groups, exotic cults and different strange movements. The above classiﬁcation is to be used as an objective guideline, but one should be cautious when analyzing propaganda and advertisements. Most of these will fall clearly into one of these categories, but a few will contain elements of both. Some educational propaganda use mind-alteration techniques while some manipulative propaganda will contain educational or factual matter. What's important for the recipient is his ability to shift and separate facts from ﬁction.

Name Calling

Using negative words, usually in politics, to turn you against a competing person without giving evidence or facts.

“My opponent didn’t tell you the truth!” OR In a campaign speech to a logging company, the Congressman referred to his environmentally conscious opponent as a “tree hugger.”

Facts and Figures

Using tests, statistics or information that sounds “scientiﬁc” to prove that one product or person is better than another

“Four out of ﬁve dentists recommend this toothpaste.” OR“73% of Americans believe this candidate will do a better job – can they all be wrong?”

Plain Folks Appeal

Trying to show that a person or product is good for “ordinary” people, because a person is “just like you” and understands you.

An ordinary looking family sits together at a table to eat a certain brand of macaroni. OR Politicians show pictures of themselves playing with a dog or with their children, wearing casual clothing.

Repetition

Repeating a name, slogan or product over and over in the same advertisement

“Buy it for less at Jamisons” repeated at least four times in the same advertisement OR“He says he didn’t know” repeated over and over about a politician in the same advertisement.

Glittering Generality

A generally accepted virtue is used to stir up favorable emotions, without giving evidence or facts. Propagandists often use words like: democracy, family values, rights, civilization, even the word "American."

“America is the best nation in the world.” OR An ad by a cigarette manufacturer proclaims to smokers: Don't let them take your rights away! ("Rights" is a powerful word, something that stirs the emotions of many, but few on either side would agree on exactly what the 'rights' of smokers are.)

Transfer

Uses symbols, quotes, or the images of famous people to convey a message not necessarily associated with them. The candidate/speaker attempts to persuade us by using something we respect, such as a patriotic or religious image, to promote their ideas.

The environmentalist group PEOPLE PROMOTING PLANTS, in its attempt to prevent a road from destroying the natural habitat of thousands of plant species, produces a television ad with a "scientist" in a white lab coat explaining the dramatic consequences of altering the food chain by destroying this habitat.

Bandwagon

Convincing us to accept someone or something because of its popularity. The bandwagon approach appeals to the conformist in all of us: No one wants to be leftout of what is perceived to be a popular trend.

Commercials that show everybody’s got one, or everyone’s doing it! OR Everyone in Lemmingtown is behind Jim Dufﬁe for Mayor. Shouldn't you be part of this winning team?

Logical Fallacies

Applying logic, one can usually draw a conclusion from one or more established premises. In the type of propaganda known as the logical fallacy, however, the premises may be accurate but the conclusion is not.

Premise 1: David Cameron supports a rich/poor devide. Premise 2: Communist regimes have always supported a rich/poor devide. Conclusion: David Cameron is a communist.

Testimonial

This is the celebrity endorsement of a philosophy, movement or candidate. Testimonial propaganda uses a famous person to try to make you buy or support something or someone.

A famous Person wears Nike clothing, and if you want to be like him, then you should, too! OR A famous actor is voting for a candidate, so you should, too.

Euphemism

The substitution of an agreeable, mild, or vague expression for one thought to be unpleasant, offensive, or harsh.

“Friendly ﬁre” occurs when a soldier is ﬁred at by someone from his/her own troop (or an ally). Instead of saying that someone is dead, we may say that the deceased has “gone on to a better place.”

Fear

Suggesting that a person or product will protect you against something unpleasant or dangerous

If you don’t want your white fabrics to fade, use a particular detergent. OR This person will protect America against terrorism.

World War 1

1914-18

To ensure that everybody thought what the government wanted, all types of information were organised. Newspapers were expected to print what the government wanted the reader to read. Though this would look like a form of censorship, the newspapers of Britain, efﬁciently organised by the media barons at that time, were happy to go along with it. They printed headlines that were designed to cause emotions regardless of whether they were right or if they were wrong. most infamous headlines included:

Propaganda was used in World War One just like previous wars and the truth was destroyed. Propaganda made sure that the people only got to know what their governments wanted them to know. In World War One, the extremes that the governments would go to in an effort to ruin the enemy’s name were extreme.

“Belgium child’s hands cut off by Germans”

“Germans crucify Canadian ofﬁcer”

Posters

The government engaged in a highly successful propaganda campaign, encouraging men to join the army and women to work in the war factories. The government used many tactics to help achieve their recruiting targets, including cinema newsreels, newspaper articles and speeches delivered at large public gatherings. One of most effective methods of inďŹ&#x201A;uencing public opinion and encouraging people to support the War effort was to provoke anti-German feeling, mainly via posters such as the example here to the right.

French Canadians, Enlist

Canadian recruitment poster, 1914.

Are You Fond of Cycling?

South Midland Divisional Cyclist Company recruitment poster

Wanted - Smart Men for the Tank Corps British recruitment poster.

Who Can Beat this Plucky Four?

Irish recruitment poster, 1915.

During World War I, posters were critical to sny countries war efforts. Their unrivalled ability to communicate quickly and memorably allowed the government and support organizations to mobilize the home front by persuading and informing the public on matters of public policy. Posters were used to raise money, recruit soldiers, boost production, bolster public support, provoke outrage at enemy atrocities, and encourage support for a variety of relief efforts.

Who will Take this Uniform, Money and RiďŹ&#x201A;e? Indian recruitment poster. Urdu translation reads: 'Who will take this uniform, money and riďŹ&#x201A;e? The one who will join the army.

Britain Needs You At Once

British recruitment poster, 1915.

The Empire Needs Men!

British and Commonwealth recruitment poster, 1915.

The United States produced approximately 2,500 poster designs and approximately 20 million posters—nearly one for every four citizens—in less than two years. Their historical signiﬁcance and continued popularity stems from their ability to capture early 20th century’s spirit of patriotism and sense of duty in stunning visual metaphors.

Poster Style & Design Russian The Propgnda Commnication The message of the poster is clear. As wth all propagandaposter theris a sense of ungerncy and a need to be contrlled and informed of a speciﬁc piece of information. I dont this is well designed poster its very dark and visually it isn’t eye catching. The Propaganda Design Most Russion propaganda posters used painted style images that were complicated design to tell a story of ussaly th poster intentions. I fee this doesnt give a crystal clear idea of what the posters about. They are colours that the Russians used a lot it wa heaper and eaier to mass produce such limited colours.

American The Propgnda Commnication is clear and consise. And what I ﬁnd to be extreamly aggresive. The american goverment ar clearly trying to guilt people into joining. This would be a very good technique as Americans are very patritic. So this would have no problem brainwashing civilans. The Propaganda Design They have used ‘Uncle Sam’, a common ﬁgre on Amerian propaganda. Wearing red, white, and blue, The use of the colours is common becuase it reprsents US colours and installs a sense of pride into the poster. which relates back to the patrotisim. The typography is clear and ledgiable. which is very common of US propaganda. Tey also using serif type. Which is bold and strong. I feel is representing the idea of the country.

British The Propgnda Commnication Is very clear simple. One message is being communicated and it is a very clear and agressive message. The use if red to catch attention and create a sense of urgency. The Propaganda Design The poster is clean and spacious, this allows the focus to stay on the illustratin in the middle. Which htye have used as a very important foucus point. The posters purpose is to be directly talking to you. This gives a false sense of importance upon yourself. The colour scheme and typogaphy style is a key part in British propaganda poster design.

German The Propgnda Commnication Is clear and is very information based. No where near as agressive as the american style. but still very persuasive toward the idea of â&#x20AC;&#x2DC;you must join the armyâ&#x20AC;&#x2122;. The desigsns have been created with a sense of ergency to show viewers of ther instant need for them to join the army. The Propaganda Design They have used the classic German style colours red and black. Which is representation of German natinal colours. The posters were more grahic based than other countries. I feel they tried to tell more of a story. Compared to the British and American style, where they are using an eyecontact approach where the poster seems to be directly talking to you.

Cinema Der magische Gürtel

1917 Film

Germany was one of the first nations to recognise and effectively mobilize the film industry towards national causes. The German industry expanded during World War I largely due to the isolation that resulted from the government's 1916 ban on most foreign films, prior to which it imported films, especially from Denmark. Building upon a history in which Kaiser Wilhelm II was the biggest movie star of the era, the Chief of Staff of the Germany army, General Ludendorff saw film as an effective war weapon and used the fledgling Universum Film Aktiengesellschaft, better known as Ufa, to create pro-German films.

British efforts in pro-war film production took some time to find their stride as it, unlike Germany, did not realise the potential of film as a means of projecting the nation’s official point of view. The British recognised early in the war that they needed to target neutral audiences, specifically America, to either get them to join the war or further support the war effort in Britain. One of the leading figures in bringing British war films to the U.S. was Charles Urban, the best known film producer in England at the time. He first brought Britain Prepared to the States in early 1916 and The Battle of the Somme in August 1916.

The Battle of the Somme

1916 Film

World War 2

1939-45

In WWII, propaganda was created for loads of different types of media types of media. Everything from cartoons in a newspaper or magazine, Posters, Leaﬂets, and even animations were used to control the minds of people. Two of the main ways that news announcers sent information was through media and print. The use of media to break up and move away propaganda included ways such as television, movies and radio. During World War II, both the Axis and the Allies depended on all these types of propaganda. Some of the media campaigns were straight propaganda, for example radio programs like Lord Haw-Haw. Other types of propaganda were indirect like adverts for cigarettes or drinks that combined a war message into them. The movie industry also became a way for news announcers to target more people. Leni Riefenstahl's Triumph of the Will is a interesting study in the use of everything from camera angle to content used to start (trouble) emotion and inﬂuence a large number of people. Media was a useful form of propaganda but it could only reach people with access to television, radios, and movies.

Print propaganda had the capability to reach a wider audience. Planes might drop a messages folded into a little hand size leaﬂet aimed at messing with the military, or newspapers might carry propaganda meant to encourage war effort. Books such as Manner Kampf written by Adolf Hitler also relayed speciﬁc beliefs. Posters were another form of propaganda productive on all sides of the war.

Posters

Valentina Kulagina was one of the few female poster artists to emerge from the 20th century. This poster, called “To Defend USSR” was created by Kulagina in 1930. It takes a cubist perspective in its multi-dimensional shapes, and it shows the Red army as huge almost robotic figures, marching from the factories to fight the war. They are surrounded by the tiny white airplanes of the royalists, which appear to have no effect on them at all and in fact seem to be flying through the figures.

We Can Do It! is a WW II era American wartime propoganda poster produced by J. Howard Miller in 1943 for Westinghouse Electric as a tool to boost worker morale. Surprisingly, the poster did not enjoy wide popularity during World War II. It was rediscovered in the early 1980s and widely reproduced in many forms, often called “We Can Do It!” but also mistakenly called “Rosie the Riveter” after the iconic ﬁgure of a strong female war production worker.

Dimitri Moor (or Dmitry Stakhievich Orlov) changed the face of graphic design in Soviet Russia back in 1918. His work dominated both the Bolshevik Era (1917–1921) and the New Economic Policy (1921–1927). The main theme of Moor’s work is the stark contrast between the oppressive evil and the heroic allies. A lot of pressure was put on Russian workers to rise up against imperialism.

Originally published as the cover for the July 6, 1916, issue of Leslie’s Weekly with the title “What Are You Doing for Preparedness?” this portrait of “Uncle Sam” went on to become–according to its creator, James Montgomery Flagg–“the most famous poster in the world.” Over four million copies were printed between 1917 and 1918, as the United States entered World War I and began sending troops and material into war zones.

This intense, frightening presence featuring the head of a “Hun” with blood-stained ﬁngers and bayonet is the work of Frederick or F. Strothmann. The poster was meant to literally scare Americans into buying the war bonds known as “Liberty Bonds” during WW I as a patriotic duty. These bonds are debt securities issued by the American government for the purpose of ﬁnancing military operations.

The Naziâ&#x20AC;&#x2122;s had a very imaginative approach when it came to producing posters during the Second World War. Designed by Norwegian cartoonist Harald Damsleth, this particularly famous image depicts the Americans as a domineering force and characterizes many of their supposedly negative aspects, such as being money grabbing, racist, over-sexualized and all-empowering.

Poster Style & Design British The Propgnda Commnication British poster aims were very clear since day of the war. Dipicting people giving away secrets in everyday situations. With qoutes like ‘carless talk costs lives’ This is one of the best known propganda techniques the goverment used to conseal valuable information. The Propaganda Design World war 2 poster designs were usally a mix of red, green, blue and black. The posters differed quite a bit from the WW1. As WW2 poster startedto have a more artisitc style. where elements were clealy thought out to speciﬁcaly convey a message.

Nazi The Propgnda Commnication The German propaganda emphasised the skills of German arms and humanity Geran soldiers had shown. To the peoples of occupies territories. Pilots of the allied bombing ﬂeets were shown as cowardly muderers. Americans in particular as gangsters. The Propaganda Design The Nazi poster and print propaganda designers were mostly using colurs like red, black, white and a heavy use of the swastika, the ‘SS’ logo, and along with the eagle. The poster design were less in your face and aggressive than in WW1. The ‘SS’ and the Nazi’s took an approach where they tried to show the good side of being art of their forces.

Russian The Propgnda Commnication The great patriotic war (1939-1945) bought a revival of the Bolshevik poster. The soviet struggle for survival forced a return to symbolism that lightend up the patritic ﬁres. The poster of the goverment show optimism of building a new society. By the End of WW2 another war started to begin, The Cold War. which a brought a return social realisim. The Propaganda Design The stlye that russian deisgners used was inﬂunced by the style of graphic design at the time. A more dynamic and well thought through designs emerged in WW2 compared to the designs in WW1

American The Propgnda Commnication The Americans continued with their controlling aggressive approach to recruiting civilians for the sections of the armed forces. Using patratisim as a pushing force to get people to join the army. The Propaganda Design The Americans produced a wider range of poster and in more styles than any other country in WW2. American designers were using mostly Red, White, and blue to inﬂuence patratisim. They still contiued to use the ‘Uncle Sam’ symbol and a mode of persuasion and guilt. They would also used healthy athletes. doing this to emphasise the healthy and better life they were living.

Nazi Cinema Films played a big part in propaganda in Nazi Germany. The film industry was controlled by the Nazis and they produced anti-Semitic films such as The Eternal Jew2, to propaganda films to educate youths about the Hitler Youth movement (“Hitlerjunge Quex”) to the coverage of the 1936 Berlin Olympics by Leni Riefenstahl. Whichever topic it was, all of this was controlled by Joseph Goebbels’ Ministry of Propaganda.

OHM KRUGER Uncle Krüger was one of a many anti-British propaganda feature ﬁlms, produced by the Nazis during the second world war. Most of the ﬁlms were about colonialism to show the true nature of the British person.

Der ewige Jude The Eternal Jew is the most famous Nazi propaganda film. It was produced by Joseph Goebbels, He controlled the film so much it is basically his work. It shows and describes the Jews of Poland as corrupt, filthy, lazy, ugly, and perverse.

“This is not a religion - it's a conspiracy against all non-Jews by a sick, deceitful, poisoned race against the Aryan peoples and their moral laws.” (The Eternal Jew, Narrator, 1940). 2

Triumph des Willens Triumph of the Will is a film made by Leni Riefenstahl. It’s about the 1934 Nazi Party Congress in Nuremberg. The film contains speeches by Adolf Hitler, along with footage of massed party members. Hitler commissioned the film. The theme of the film is the return of Germany as a great power, with Hitler as the True German Leader who will bring glory to the nation.

“It is our will that this state shall endure for a thousand years. We are happy to know that the future is ours entirely!” (Triumph of the Will, Adolf Hitler, 1935). 1

The use of ﬁlm as propaganda is a powerful weapon, and

Propaganda has been, and always will be, the ever present

it is one the Nazis used quite well. From direct political

friend of government throughout human history. Those in

ﬁlms that had a clear message, to intelligent artsy ﬁlms

power must regularly promise the public that they are the

that hid the message behind entertainment, the full range

best people for the job, that to upset the status quo would

of genre and style can be ﬁnd in the over 1,000 ﬁlms

be bad, and that certain truths are unconditional. If these

produced by the Nazi Regime. These ﬁlms can be broken

“truths” are said with a conﬁdence, it will draw people in.

down even further into the subjects: Kampfzeit,

The start of mass media, in this case ﬁlm, has advanced

Fuhrerprinzip, Blut, Enemies of the Reich, War, and

the capability of propaganda to inﬁltrate society and take

Getting away from things. This article seeks to educate

hold. Film possesses the unique quality of connecting a

the reader about Nazi Cinema, rather than argue its

huge audience of people all at once with a belief through

varying degrees of success. When a ﬁlm has the power

emotions like: empathy, sympathy, joy, sorrow, anger, and

to drive people to the streets, its desired effect is in

so on. Unlike ﬂyers and leaﬂets, and mass rallies which

evidence. It is impossible to get a clear view of this

invite people who already believe what is being said, ﬁlm

particular subject through literature, thus the ﬁlms

attracts people from all places and promises them a night

themselves are referenced as well. Only the most

of entertainment and relaxation. Under the pretence of

successful or most related ﬁlms were used. For example:

entertainment, a message can be repeated over and over,

Triumph of the Will was both very successful and related,

eventually burying itself deep within the mind of a

but Ich klage and was chosen for its relevance to the

population. This ideal now becomes part of their belief

topic of Blut und signal for the future. And what of the

system, and people will ﬁght to defend their beliefs. The

Audience? Goebbels and his Ministry of Propaganda

leaders of the National Socialist German Workers Party

were responsible for all parts of the society.

understood the value of ﬁlm propaganda well. Between 1933 and 1945, 1,090 ﬁlms were produced for the German public, including 6 in the year 1945, even though the enemy was less than 50 miles from Berlin.

Soviet Cinema The Soviet film industry suffered during the period after World War II. On top of dealing with the

severe physical and money losses of the war, Stalin tightened social control and censorship in order to manage the effects recent exposure to the West had on the people.

After the death of Stalin, Soviet filmmakers were given a free hand to film what they believed

audiences wanted to see in their film's characters and stories. However, the industry remained a part of the government and any material that was found politically offensive, was either removed, edited, reshot, or left unseen. In rare cases the filmmakers somtimes were able to convince the government that thier work was okay to be seen, and could be released.

Падение Берлина The Fall of Berlin is a propaganda ﬁlm portraying the history of the Second World War with a focus on a highly positive depiction of the role the Soviet leader played in the events, it is considered one of the most important representations of Stalin's personality.

Октябрь Ten Days That Shook the World, is a Soviet propaganda ﬁlm that deals with the shift of power in the government after the 1917 Revolution, the entrance on the scene of Lenin, and the struggle between the Bolsheviks and their political and military enemys.

Александр Невский Alexander Nevsky was made during the Stalin era, when the Soviet Union was at war with Nazi Germany. The film contains scnenes that show the political situation between the two countries at the time it was produced. Some types of helmets worn by the Teutonic infantries resemble mock-ups of Stahlhelms from World War I. In the first draft of the Alexander Nevsky script, swastikas even appeared in the invaders' helmets. The film portrays Alexander as a folk hero and shows him ignoring a fight with the Mongols, his old enemies, in order to face the more dangerous enemy.

Childrens Media Walt Disney

Walt Disney During World War II, Disney made films for every part of the U.S. military and government. The government looked to Walt Disney as a lifter of public morel. This was done through the use of animations. Over 90% of Disney employees were devoted to the production of training and propaganda films for the government. Throughout the duration of the war, Disney produced over 400,000 feet of educational war films. Most at cost, which is equal to 68 hours of continuous film. In 1943 alone, 204,000 feet of film was produced.

As ordered by the US Government, Walt Disney made a lot of anti-German and anti-Japanese films for both the soldiers and the US public. He wanted to make these countries and their leaders look manipulative and that they also didn’t have any morals. A few of the films he created were "Der Fuehrer's Face” (1942), “Education for Death- The Making of a Nazi” (1943), and “Commando Duck" (1944). In “Der Fuehrer’s Face,” Donald Duck breaks down after experiencing a nightmare where he has to make do with eating horrible Nazi food rations and experiences a day at a Nazi artillery factory. “Education for Death- The Making of a Nazi” was a propaganda film that takes on the view point of Hans, a young German boy. As the movie goes on and Hans is exposed to Hitler youth and the Nazi ideas and culture, his idea and worth of human life decreases. In “Commando Duck”, Donald, by himself, destroys an entire Japanese airbase.

DR. Suess

Dr. Seuss turned to political cartoons, drawing over 400 in two years as editorial cartoonist for the New York City daily newspaper. Geisel's political cartoons, later published in Dr. Seuss Goes to War, Declared that Hitler and Mussolini were evil and were highly critical of non-interventionists ("isolationists"). Charles Lindbergh, who opposed US entry into the war. One cartoon depicted all Japanese Americans as latent traitors or ﬁfth-columnists, while at the same time other cartoons expressed the racism at home against Jews and black people harmed the war effort. His cartoons were very supportive of President Roosevelt's handling of the war.

During the War Children became very affected by propaganda during and after the war. Propaganda was aimed at younger children. The propaganda was used to prepare children for more active roles as they grew older like delivering messages between army barracks. Propaganda had another inﬂuence on the activities of children during the First World War – looking out for spies and saboteurs. Children’s stories exaggerated the threat of enemy agents, Children and adults not expressive enough in their patriotism were targeted for social pressure. A parent not able to answer the question, ‘what did you do during the war?’, risked more than private shame. When it comes to media propaganda Disney and DR. Suess had a lot of of inﬂuence in the propaganda for children.

East Asia

1920-90

The 1920s had a growth of creativity in East Asia, mainly in Russian-trained artists based in Tashkent and Baku. While central publishing places in Moscow and Leningrad were shifting to Socialist Realism, artists in the periphery continued the avant-garde movement, combining it with local traditions, according to the exhibitâ&#x20AC;&#x2122;s curator, Maria Filatova. She sees the colourful posters from the 1920s and early 1930s, with their longer texts and multiple ďŹ gurines, as direct decedents of local calligraphy and miniature traditions.

China Propaganda can be traced back to very early Chinese history. But propaganda has been the most effective in the 20th century with giant media and a strict government. China in the era of Mao Zedong is known for its constant use of mass campaigns to legitimise the state and the policies of leaders. It was the first Chinese government to successfully make use of modern propaganda techniques, using them for the needs of a country which had a mostly rural and illiterate population

Chinese Style Chinese Style of Propaganda posters are used to scare and intimidate people. They are largley very graphic. This is because a lot of people in the 20th century and still nw were illiterate. The images are usally very graphic and depict real events of things that have happend and will continue or are going to happen in the future. The poster gennereally had a great effect on the population, as communication was poor and the majority of people believed the propaganda.

Chinese Design

Chinese design usually consists of painted artwork then mass produced. Some artwork can be seen to have a western approach to the layout and typographical aspects of the poster. Mostly this was discared becuase they wanted the poster to have a more literal approach by drawing detailed and exspressive images to get the propaganda message across to the civilians.

Defeat Japanese imperialism

Wanting a cheap labour force and a large amount of resources, Japan invades China in 1937. China must become part of the 'East Asian Economic Co-Prosperity Sphere'. Most of China is controlled by the Nationalist Party, which is especially strong in the urban areas. The Communists establish themselves in the countryside. Both parties use posters to try and mobilize the population to resist the common enemy, Japan. The Japanese also use posters to justify their military presence and to make it clear to the population that any resistance is useless. Like Chinese and Japanese posters from the 20th century, theyâ&#x20AC;&#x2122;re extreamly aggressive and violent. The chinese wanted scare as much fear as possible into the people.

Designer unknown (佚名) 1925 Shoot to kill

This poster was issued by the Beijing United Medical Students Association in Support of the Shanghai Incident. The English text in the middle reads: "The Chinese Magistrate asked whether ﬁring at the legs of the crowd would have been effective. Inspector Everson said that such would be contrary to his instructions, which were only to ﬁre in the last resource and then to shoot to kill."

Designer unknown (佚名)

Ca. 1937 Millions of people all of one mind vow to exterminate the Japanese enemy

Anti-Japanese propaganda from the Nationalist Party (Guomindang, 国民党).

Designer: Fang Ling (方

)

1951 Fang Ling - The justiﬁed noose awaits them!

Murdering and looting Americans in Korea. The large soldier in the centre appears to be a caricature of American President Harry Truman.

Designer: Ha Qiongwen (哈

文)

1965, July American imperialists, get out of South Korea! (Korea's three thousand kilometres of mountains and rivers certainly can be united)

China supports the vehement protests in South Korea against the American-backed regime.

Designer: Xiang Yang (向

)

1974, March Carry out birth planning for the revolution

An intensive campaign for birth control is started in the 1970s. Contraceptives, such as the pill, are free.

Designer: Central Industrial Arts College (中央工

美

院)

1989, December Only socialism can save China, only socialism can develop China

During the student demonstrations on Tiananmen square in Beijing in 1989, a white statue of the 'Goddess of Democracy' was erected. After the crushing of the demonstrations the authorities put this statue in its place.

Japan In Japan Propaganda directed at the Japanese soldiers showed the strength of the Japanese and the weakness of the Allied forces. This type of propaganda was used to make the Japanese feel like they had morals on their side and they were ďŹ ghting against non-humans. This is a way that both sides used. Degrading the enemy made it easier to justify killing them. This was not a new tactic and is still used today when wars are sttarted. There were postcards made of the bombing of Pearl Harbor so Japanese could celebrate Japan's victory over America. It was a show of Japanese power, and the postcard was meant to remind people that they were part of a great nation and they should be proud of it.

The Japanese sun is blowing away the allied forces.

When the American soldiers invaded the PaciďŹ c, the propaganda that was given to the Japanese soldiers was of the samurai. This was meant to make them look back to that part of their history and remember the code that samurai used when they were in battle. Most of the time the samurai is depicted much larger than the enemy, which is small and being crushed by this one giant samurai. Other propaganda showed the Japanese soldier as a hero for defending his country. It is important to note that not all of what was created was serious. Some of it made fun of the enemy and was comical. Some of the pictures of the enemy were drawn in a way that made light of the intelligence of the Allies by making them less human and at the same time making the Japanese force seem more powerful.

Japanese soldier walking over British and American ďŹ&#x201A;ags

Another part of the propaganda of the Japanese was the view that they were the liberator of the entire East Asia region. They saw themselves as being able to free the Asian people from the Western colonizers that were oppressing the people. However, when the Japanese got really involved in the area they were no better at helping set up a rule of law than the British. The Japanese propaganda portrayed them as having good intentions when they went to liberate East Asia. The manifesto below details their purpose in being the liberator, showing that the intention was to free Asia of Western inďŹ&#x201A;uence so that the countries could have common ground and share culture much like the West was doing. This was not achieved but Japan's actions did bring East Asian countries together against the West and Japan as colonisers.

Greater East Asia Cooperation Manifesto

Children of ten nations that are part of the Japanese mission to stop Western colonization.)

North Korea The propaganda used by North Korean leaders to gain and maintain their power is not a strict imitation of Cold-War communist model. Rather, it is a unique homegrown hybrid of Marxist thinking combined with Japanese and Chinese cultural and political inﬂuences stretching back to centuries.

In previous decades, North Korean propaganda was crucial to the formation and promotion of the cult of personality centered around the founder of the totalitarian state, Kim Il-sung. The Soviet Union began to develop him, particularly as a resistance ﬁghter, as soon as they put him in power. This quickly surpassed its Eastern European models. Instead of depicting his actual residence in a Soviet village during the war with the Japanese, he was claimed to have fought a guerilla war from a secret base.

Here, the North exhorts Koreans to “Kick out the Americans and unite the Fatherland!”.

The headband reads “U.S. military out!” (meaning, leave the Korean peninsula), while the main text reads “Repel the American invader” (to save us from misery and pain).

Given the North’s improving missile capabilities, the image shown here is slowly becoming possible: “Start a war against us, we strike the American bastards ﬁrst!”

Kim Il-sung, a young Kim Jong-il, and Kim Jong-suk (Kim Il-sung’s ﬁrst wife and the father of Jong-il) out for a ride, the peak of holy Mt. Baekdu visible in the background.

Vietnam In the war from 1959 to 1975, most Posters were hand-made by wood papers and then hung up on the streets to propagandize the ﬁghting Sprit of Vietnam People. And now in the peaceful time, Propaganda Posters are used to the transmit messages as an instrument to propagandize the build-up and development of nation

Determine to ﬁght, determine to win, we still ﬁght until there is no intruder in 1964 Hand-painted in 1964, collected in North Vietnam

Determine to ﬁght, determine to win! We follow the great president Ho and try to complete any hard national duty in 1975. Hand-painted in 1975, collected in North Vietnam

According to cultural historian M. Paul Holsinger, And babies was "easily the most successful poster to vent the outrage that so many felt about the conďŹ&#x201A;ict in Southeast Asia.

And babies (December 26, 1969) is an iconic anti-Vietnam War poster. It is a famous example of "propaganda art" from the Vietnam conďŹ&#x201A;ict that uses the now infamous color photograph of the My Lai Massacre taken by U.S. combat photographer Ronald L. Haeberle on March 16, 1968. It shows about a dozen dead and partly naked South Vietnamese women and babies in contorted positions stacked together on a dirt road, killed by U.S. forces. The picture is overlaid in semi-transparent blood-red lettering that asks along the top "Q. And babies?", and at the bottom answers "A. And babies." The quote is from a Mike Wallace CBS News television interview with U.S. soldier Paul Meadlo, who participated in the massacre. The lettering was sourced from The New York Times, which printed a transcript of the Meadlo interview the day after.

And Babies

West Asia

1979-98

Information/propaganda is seen as a weapon within The Islamic Republic of Iran. Like any other weapon, the use of this information can be used for positive or negative purposes. Within Iran, Ayatollah Khamenei knows and understands this concept as those who try to speak truth to power, or use information in a way that is critical of the Iranian government, are in most cases, silenced. The Iranian government uses information as a means to control the population of Iran through various methods and mediums. Putting journalists into prison, physically removing satellite dishes from the roof's of its residents, and producing the messages and programming its citizens see occurs on a daily basis within Iran.

Iran The 1979 Iranian Revolution and the ensuing Iran- Iraq War produced an enormous amount of visual material, much of which still remains unexamined. Works produced during this periodâ&#x20AC;&#x201D;which forever altered the balance of power, both regionally and globallyâ&#x20AC;&#x201D;provide a glimpse into these indelible events and their impact on Iranians and recent history. Visual materials were an important tool of dissemination for a largely illiterate audience, and today they stand as a collective graphic memory of those traumatic years. One such graphic caveat, the highly evocative A Funeral for Hearts, survives as a visual reminder of the physical and emotional pain Iranians endured for over a decade, as a group of dying men carry their own hearts to the grave

Visualizing these experiences of human trauma and suffering allows individuals to collectively remember, mourn, and safeguard their experiences within a shared historical memory. Iranian posters thus historicized events as they unfolded by commemorating the recent past, preserving the ever-changing present, and charting the unknown future.

Five Soldiers with Khomeini Five Iranian soldiers, of various ethnicities and representing different branches of the military, march across a desert battleďŹ eld in the war-torn province of Khuzestan.

IRANIAN STYLE Iranian Propaganda was used to scare people but also educate them. On what was happening at the time. Images were important as many people couldnt read or write. So it was important to be able to fully emphisise the message in the imagery.

Mullah, Mother, and Soldiers The poster represents new life, death, and self-sacriﬁce. In one of the soldier's arms appears a book, most likely a copy of the Qur'an.

Soldier Sitting in Bombed Building a soldier sits on the lookout in a bombed-out building, the yellow air outside indicating the use of a deadly chemical weapon.

Fist Crushing Iraqi Jet Rising up from a crowd of Iranian protestors, a large ﬁst crushes an Iraqi jet in a symbolic act of deﬁance and projected victory during Iran's war with Iraq.

IRANIAN DESIGN Most Iranian Propaganda is highly artistic and well designed. The images generally are graphic and very detialed. A lot of religous symbols and imagery are used in the poster as Iran is a very religous place, and this is one of the esiest ways to scare people. The posters are colourful and the artists use colour to express emotion in the propaganda images. 44

Modern Era

2000-10

Industrialisation Propaganda is most prevalent in industrial societies where there is significant division of labor and expertise. In such complex environments, people not only may come up with dangerous ideas, they may also seek to persuade others to join their cause. Industrial societies also have greater connection between more people and thus enable ideas to spread more quickly. In more feudal environments, where there are absolute rulers and simple class systems, the complexities of propaganda are not needed. When the peasants revolt, you simply put them back in their place. Generally, however, they know their place and quietly stay there. Complexity Propaganda is seldom just a simple method, such as making speeches or using posters. It is often a complex web of communications that seeks to reach people through all media and all situations. Disconfirming evidence or opinion can be very destructive for propagandists, so these must be removed, drowned out or discredited (which adds further to the complexity of the propaganda effort). Masses Propaganda happens in societies where people are depersonalized and forced into masses, where their sense of identity comes more from the group than from their own sense of mission or being. Thus people belong to religious, political, work and social groups, from which they take their beliefs and values. If the propagandist can influence the leaders and fundamentals of those groups, then they will be able to convince and convert whole slews of people in a single go.

ntegration The purpose of most modern propaganda as used by controlling organizations is not to agitate people and make them feel unhappy. Its main goal is to integrate individuals into society through the use of such devices as peer pressure and social norms. These rules are set by leaders, who themselves may be influence by the propagandists. Integrationism can hence be seen as a numbing, dumbing process, where people become immured to disturbing thoughts and perturbations and are happy to live simple lives under a system control that they do not even know exists. Blocs Global propaganda tends to fall into a limited and small number of 'blocs' that often are aligned with particular ideologies. Politically capitalist and communist blocs have long used internal propaganda to demonize the other. The same thing happens through religion, and Christian and Islamic groups have fought in various ways and used much propaganda against one another for hundreds of years. Totalitarian Propaganda messages appear from all directions and virtually everything contains some element of messages that promote conformity of appearance, thought and action. In many modern totalitarian countries, people are the willing participants in their own containment, perhaps complaining at control, yet perceiving alternatives as worse. Simplification An effect that propagandists seek is to make things seem far simpler than they really are. Good and bad are clear and polarized (enemies and friends are always clear). Social issues are simplified into limited issues (e.g. around abortion and gun-control). Public opinion is stereotyped and presented back by a media that prides itself on clarifying the issues (and who are themselves subject to propagandist messages).

Digital Age

In the modern era Propaganda artists communicate via social networking, this allows access to many artists around the world leading to collaborations. A fantastic example of collaboration is the 2001 Movement Zapatista. A movement to protect the indigenous people in Chiapas, Mexico. Where instead of creating posters, small self-adhesive stickers were created. They asked people to create and submit designs within 24 hours. 25 designs were selected and 75,000 stickers were produced. They were distributed to everyone, kids, skateboarders, and ofﬁces etc. within hours the sticker were everywhere.¬

Viral Propaganda has become more and more frequent. It’s hard to go a day on the computer, without seeing a viral video or simmilar. This is a screen shot a of a 2013 viral campaign for Chipotle Mexican Grill. Viral Campaigns are one of the most efﬁciant and quickest ways to reach speciﬁc group of people.

Most graphic art is now made digitally. using computers etc. Most political graphics are designed with the internet in mind. A campaign or propaganda design can easilly be shared digitally using email, social networking, and much more. This is a massive difference from world war 2, where only four-ďŹ ve companys could create full colour lithographs in large numbers. Artists can also now easily create music, video clips, and animations, then easilhy distribute them though pre exisiting social networks.

Industry Interview Steven Luckert is Curator of the Permanent Exhibition at the United States Holocaust Memorial Museum. Dr. Luckert joined the Museum as a historian in the Wexner Learning Center in 1994. The following year he became the Curator of the Permanent Exhibition. In this capacity, he is responsible for selection and incorporation of artifacts, researching and writing exhibition text, and handling all issues and inquiries pertaining to the exhibition.

2. What effect did propaganda in WW2 have on the population? 1. What is the main goal of print based propaganda, referring to poster, flyers etc? This is not such an easy answer as one might expect since posters, flyers, etc., can function differently under different circumstances. To give you an example, Nazi posters in Weimar democracy were used to advertise the Nazi Party and its leaders during elections in which they often had to compete against 30 or so other political parties. Posters also might serve as announcements of meetings, parades, etc, which required a different set of graphic requirements. The Nazis understood that you had to make your point in an election poster quickly since passersby would only spend a few seconds reading. You had to catch their eye with strong graphic treatments, a slogan, a logo, etc. Posters, such as these, were ephemeral and meant to be read quickly. In a democracy, the Nazis honed their skills as propagandists because they had to compete for votes and supports with many other parties. What could catch the eye, leave the viewer with an easily understood message or point, and stick in their mind worked. Hitler, for instance, talked about designing posters for meetings in red because he knew the color would attract attention and possibly provoke opponents, but ultimately it would get people into the beer halls and other venues. The Nazis also studied other posters, and even acquired a collection of political and World War I propaganda to study and learn from. Flyers often had a different purpose, depending upon audience and context. For ones designed to outline the particular political policy, you might want to incorporate more text than image. And you had to know when and where to distribute these. The Nazis, for instance, gave instructions to distribute leaflets to people entering train or subway stations because they were more likely to read them sitting down. If you distributed them as people were leaving the station, they would throw them in the trash. Leaflets also had to be tailored to the audience you wanted to reach and written and designed that way. Leaflets in wartime served a rather different function, especially those meant for opposing armies, generally these were to weaken your fighting ability or influence you to surrender. Images might work better here. 49

This would take years to answer, but certainly propaganda served a variety of functions in wartime: it served to try and keep the morale of the population high, convince them of the righteousness of the belligerent's cause (usually by appealing to high moral values: fighting to protect your family, civilization, freedom, etc.). Propaganda also was used to weaken your opponent, to convince him or her that the war could not be won or that your leaders were evil or sending you to your death. Propaganda also was used to influence attitudes in neutral countries. 2. What effect did propaganda in WW2 have on the population? This would take years to answer, but certainly propaganda served a variety of functions in wartime: it served to try and keep the morale of the population high, convince them of the righteousness of the belligerent's cause (usually by appealing to high moral values: fighting to protect your family, civilization, freedom, etc.). Propaganda also was used to weaken your opponent, to convince him or her that the war could not be won or that your leaders were evil or sending you to your death. Propaganda also was used to influence attitudes in neutral countries. 3.What was the main outcome of propaganda in WW2 My main comment here is that World War II showed that propaganda alone cannot win wars. Propaganda, as it was in the First World War, was a potent weapon to shape public opinion and behavior, and was used by all the belligerent powers with varying degrees of success. After the war was over, the Allies made a concerted effort to purge Germany of militaristic and Nazi propaganda, which they believed had helped to plunge the world into war. Propagandists also were prosecuted for what they said and wrote.

3.What was the main outcome of propaganda in WW2

7. How successful do you think this posters were during WWII?

My main comment here is that World War II showed that propaganda alone cannot win wars. Propaganda, as it was in the First World War, was a potent weapon to shape public opinion and behavior, and was used by all the belligerent powers with varying degrees of success. After the war was over, the Allies made a concerted effort to purge Germany of militaristic and Nazi propaganda, which they believed had helped to plunge the world into war. Propagandists also were prosecuted for what they said and wrote.

This is difﬁcult to gauge, Certainly, the ones that succinctly spell out the war aims of a country, such as the 4 Freedoms posters done by Norman Rockwell, are memorable as are some of the posters in various countries about not divulging information that could aid the enemy.

4. When designing print propaganda what are important aspects to focus on to create effective propaganda? Basically, there are some key principles that have proven effective in getting messages across in propaganda. Simplicity in language and design; avoid very lengthy text and overly complicated design since this muddies the message. Emotional appeal; propaganda plays upon emotions and the design's ability to play into the hopes, fears, and aspirations of the audience can determine success or failure. Branding: use of a logo or symbol or public persona to quickly convey something about the group putting out the propaganda. The swastika, for instance, became a potent logo or trademark for the Nazi Party that became indeliby linked with it. Use of appealing visual metaphors or slogans; reducing very complicated issues to a few word: hope, freedom, bread, peace, etc. They are amorphous concepts, but appealing to everyone. 5. What symbols, key words or well known images were used in WWII? This depended on the nation at war. It could be the ﬂag of a country or other potent symbols. Appealing words, like freedom, and the Nazis used this word too. Notions of greater purpose: you are ﬁghting for the greater good, not to conquer territory, but for democracy, to save civilisation, to protect your family, etc. 6. What makes propaganda posters so powerful?

8. Would a similar propaganda posters have the same impact in today’s society? Why or why not? I think audiences access information differently today so a poster, such as the one of Hope created for the Obama presidential campaign can resonate with audiences, even though they might only see this electronically and not on the wall of a building or kiosk on the street. While the poster isn't necessarily used the same way, the same principles that guided the production of posters (strong graphics, limited text, and emotional appeal) still work in today's media. 9. Propaganda is considered negative. but originally was neutral and could refer to uses that were generally positive, such as public health recommendations. Do feel propaganda has a positive use in this modern era? This is a good question. Edward Bernays, who was one of the pioneers in public relations and a former propagandist in the US Committee on Public Information, once argued that propaganda can serve a very useful function in raising the level of discourse and encouraging positve change. He believed, for instance, that women might not have gained the right to vote in the United States without propaganda. During the Second World War, propaganda also was used to try and save lives, though this had received scant attention. The Ofﬁce of War Information and other propaganda agencies called for local populations to aid Jews or to prevent the persecution or deportation of them. Calling attention to what was happening to a particular group, under threat of destruction, and urging individual or governmentatl action could be construed as positive propaganda.

Propaganda works when there is a message that resonates with an audience. Its success or failure depends on whether an audience buys into it. It can be beautifully designed, but if no one believes it, the propaganda doesn't work. When it does work, it can be a powerful weapon for shaping public opinion and behavior. It can mobilize a population around an important goal or campaign, or it can incite hatred or create a climate of indifference towards particular groups, as the Nazis did with their antisemitic propaganda.

Nicholas Cook (Q10266194) Tutor â&#x20AC;&#x201C; Chris Bigg Southampton Solent University BA (hons) Graphic design Level 6, Year 3 Visual communication Industry Research Project (AVC602)