| Papers [1-14] of 100 :: [Page 1 of 8] | | Go to page : 1 2 3 4 5 6 7 8 —> | Search results on "HOLLYWOOD PROPAGANDA WWII": |
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Hollywood Propaganda and WWII, 2007.
This paper demonstrates how Walt Disney cartoons and films were utilized as a form of propaganda during World War Two.
1,265 words (approx. 5.1 pages), 6 sources, MLA, £ 30.95
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Abstract
The paper discusses how, during World War II, Hollywood was part of the war effort and produced a number of works intended to stir up the troops, encourage those at home to help in the war effort, and demonize the enemy. The paper examines the different types of propaganda and shows how Disney used films and cartoons in their fight against Nazi Germany. The paper discusses how these films show a side of the war that many may not realize was so powerful.
From the Paper
"We tend to think of propaganda as a tool used by the enemy, but America uses propaganda as well. During World War II, Hollywood was part of the war effort and produced a number of works intended to stir up the troops and often to demonize the enemy as part of the process. The most obvious such films were the wartime war movies that celebrated Allied victories and killed off dozens of the enemy. Cartoons were also used in service of the war effort, often involving racially charged images that do not fit well with today's culture and so are often not seen any longer. A number of Popeye cartoons involved denigrating images of Japanese people. At Warner Bros., the Private Snafu series for the army included not only similar racist images but some swearing. Walt Disney Studios also enlisted in the war effort and produced a number of films intended to support the troops and demonize the enemy."
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WWII Propaganda in France, 2002.
This paper examines the World War II propaganda in France.
2,850 words (approx. 11.4 pages), 14 sources, MLA, £ 60.95
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Abstract
This paper examines propaganda in France after its surrender under the Vichy regime of Petain. It provides great historical details aided with maps and visual examples. The paper argues that contrary to common belief pro-Nazi propaganda in France was not imposed but initiated by the Vichy regime itself.
From the Paper
"In the process of researching the topic I chose for my paper ?Nazi Propaganda in France.? I discovered that a more appropriate title would be ?Propaganda in France during the Second World War?, in light of the fact that alongside the Nazis, the occupation government of Vichy worked so fervently to arrive at a parallel goal: to control the population through propaganda."
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Ethics of War Propaganda, 1999.
Examines uses, abuses, aims & effectiveness of propaganda in WWII & later.
1,800 words (approx. 7.2 pages), 11 sources, £ 45.95
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From the Paper
" WAR PROPAGANDA: ETHICAL ISSUES
This research paper deals with the ethical issues involved with the use of propaganda in wartime by totalitarian and democratic governments. No nation can be expected to wage war with one hand tied behind its back, but ethical issues of the most profound nature are raised any time propaganda is used in such a manner as to promote atrocities such as genocide or wanton destruction of human life, especially among non-combatants. Regimes which fail to control the excesses of war fever may be guilty of crimes against humanity and, in the case of democratic regimes, a betrayal of their basic values. Jacques Ellull goes too far when he says that ethics play no part in the use of propaganda in war, but he is correct historically in the sense that propaganda has frequently been used in an ethically neutral.."
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Propaganda in Britain and Germany 1930-45, 2004.
Discusses the effects of mass persuasion on British and German society prior and during the Second World War.
2,680 words (approx. 10.7 pages), 10 sources, APA, £ 57.95
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Abstract
This paper discusses the use of propaganda before and during WWII and its effects on British and German society. It first notes that differences in the countries' war aims had a great effect upon the success and content of propaganda. It then examines how propaganda affected morale. The paper describes how hatred and violence were successful parts of the German, but not British, propaganda campaign. The paper examines the effect of spectacle, speeches, the press, the cinema, and the wireless. It describes the connection between propaganda and egalitarianism and shows how propaganda saturated every aspect of civilian life. Finally, the paper discusses the overall success of British propaganda and the failure of German propaganda.
From the Paper
"Britain produced propaganda to incite hatred of Germans, but in May 1941 the Policy Committee of the Ministry of Morale had to formally propose an anger campaign because the British people lacked personal anger towards the Germans. This campaign was implemented on a small scale and did not significantly alter British attitudes. The Germans, however, were persuaded to hate the British from the first (largely because of residual anger of the Treaty of Versailles), though it took time to make them hate the Jews."
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Modern Japan and The Meiji Restoration, 2002.
Depicts the effects that the Meiji restoration had on Japanese propaganda in WWII.
1,615 words (approx. 6.5 pages), 4 sources, MLA, £ 37.95
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Abstract
The Meiji Revolution, which came about at the end of the nineteenth century, toppled the Tokugawa shogunate, "restored" imperial rule and transformed Japan from a feudal into a modern state. This paper examines how the ambiguous constitutional structure, military orientation and nationalist ideology bequeathed by the Meiji Restoration led Japan to military disaster in WWII. It shows how racist Meiji ideology affected the propaganda put out by the Japanese during the war. The paper contains illustrations.
From the Paper
"The Japanese created a copycat theory that meant they adapted to the western industrialization. However, they had a hidden agenda to create a more superior power than the west. All they would do is innovate and mutate the capitalist ideology. While this was happening the Japanese would become more anti west and have more of a feeling of moral superiority. A new world order would show where they belonged in the world and how they would become greater."
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Remembrances of WWII: Studs Terkel, 2006.
A summary and review of Studs Terkel's WWII novel, "The Good War: An Oral History of WWII".
675 words (approx. 2.7 pages), 1 source, £ 18.95
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Abstract
This paper introduces, discusses, and reviews Studs Terkel's novel about WWII, "The Good War: An Oral History of WWII". The paper notes that Terkel discusses World War II from both the perspective of the soldiers that fought in the war and the individuals within society that developed their own ideas about the war. The paper points out how Terkel uses first hand reflections from individuals that lived during this time period and allows their own words to relay their ideas about WWII and that, historically, the war is remembered in facts to include the losses of life that occurred. The paper also notes that the book conveys the sense that the individuals that remained in the country and the soldiers that endured on the battlefield recall the war with the same pride, honor and fondness, allowing for a universal sentiment about the war.
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National Socialist Propaganda: Role and Nature, 2007.
An examination of the role and nature of Nazi propaganda.
1,008 words (approx. 4.0 pages), 8 sources, MLA, £ 25.95
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Abstract
This paper examines the outlook and the function of the propaganda of the Nazi regime. It explains that the propaganda came in the form of movies, radio, newspaper articles and advertisements, mass rallies and books and infiltrated all aspects of German life. The paper looks at how the Nazi propaganda's saturation of German life and the very nature in which propaganda should be used, set out by Hitler and Reichsminister Dr. Joseph Goebbels, were essential to the regime's popularity, the obedience of its people and the building of its psychological and physical strength and population numbers. The paper also notes that propaganda continued to be used by the National Socialists as a manipulator of the people even after they had gained power and that the focus shifted from politics to the demonization of the Jews and the mentally ill, and to the promotion of the Volksgemeinschaft. The paper further discusses how poster art was one of many suitable mediums for conveying these messages. In conclusion the paper shows that National Socialist propaganda takes its place in history as one of the most powerful and successful operations the world has ever known; a programme that indoctrinated a nation and seduced it into pursuing an ideological fantasy, which eventually resulted in catastrophe.
From the Paper
"One such example of Nazi poster propaganda is the announcement of the "Third Reich's Day of the Farmer of 1935". The farmer, who had always held a place of high esteem in Nazi ideology, is portrayed as a strong, tall, idealised Aryan. He stands upright with his sleeves rolled up as if ready to work or take on some tremendous task. He appears brave, strong and physically idealised and a perfect example of a good German and Aryan man. The National Socialists had recognised that the farmer was the "fount of national health and future German greatness", and with this poster the Propaganda Ministry aims to create awareness of the value of the farmer and his physical and "Volkish" qualities in that he is putting the concern for the greater Volk above himself by farming. Not only is the poster a piece of propaganda, but the event that it advertises is also a propaganda act, held to "strengthen National Socialist values"."
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Propaganda vs. Art, 2004.
Addresses the questions in the debate about propaganda vs. art of whether the artist can be separated from the art he or she produces and to what extent the artist is complicit in the use of their artwork for propaganda purposes.
2,458 words (approx. 9.8 pages), 19 sources, MLA, £ 53.95
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Abstract
This paper argues that, while separating the art from the artist in an analysis of his work is generally a healthy practice, we should question to what extent we should make this separation and why some artists are allowed more leeway than others. The paper also attempts to answer the question, concerning propaganda versus art, about how much we can hold the artist responsible for the use and application of his art for other, possibly nefarious, purposes. The author of the paper argues that the answer lies in intentionality through an understanding of the intent of the artist in the production of the work of art. The paper uses artist Leni Riefenstahl and her work to illustrate the complexity and importance of addressing these questions.
From the Paper
"In debating the difference between art and propaganda one may enter into a minefield of contentious terms and complex ethical issues. The central concern that will be the focus of this paper is the intentionality of art in determining whether it is propaganda or art. If an artist is aware of and complicit in the manufacture and production of art for a specific political agenda, especially one that has been universally condemned, then he or she may be seen to be a propagandist rather than an artist. It is this qualitative and intrinsic difference in the artist and not in the use made of the art that is the central concern. Therefore, the criteria that will be used to ascertain the difference between art and propaganda is the underlying intention of the artist."
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American Propaganda during World War II, 2005.
A discussion of American propaganda policies during World War II, in particular against Nazi Germany.
2,935 words (approx. 11.7 pages), 8 sources, APA, £ 61.95
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Abstract
This paper explores the tactics and tribulations that American propaganda employed and faced during World War II against the Nazis. Comparisons are given at the beginning of the paper with just how effective the Nazi propaganda machine was in destroying a nation's morale before military action and how this clearly weighed on the minds of American political leaders at the time. Quotes and excerpts are given throughout the paper from declassified documents from the OSS and OWI, all lending credence to the idea that America's first priority in terms of propaganda was eliminating the concept of an all-powerful Nazi state. The latter half of the paper gives specific examples and discusses them all in great detail. American film, radio broadcasts, posters, cartoons, and magazine ads are all examined and given as proof of how American propaganda sought to dehumanize and discredit the Nazi regime in order to strengthen the will to fight the Nazis. The concept of morality is heavily discussed, with many propaganda examples containing an idea of American superiority over Germany.
From the Paper
"When Adolf Hitler declared war on the United States on December 11th, 1941 after the attack on Pearl Harbor by the Japanese, America was confronted with the prospect of fighting a war in both Europe and Asia. A stream of propaganda against the United States followed the declaration of war from Nazi Germany, and America responded throughout the war with equally strong propaganda that could be found in a variety of mediums. From the traditional war posters, the more modern idea of magazine ads and the growing influence of Hollywood, American propaganda was vital in winning the war against Nazi Germany by strengthening the public's resolve at home and weakening the Nazis psychological grip over Europe."
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Propaganda, 2002.
A discussion of the use of propaganda for the state and the individual.
565 words (approx. 2.3 pages), 0 sources, £ 14.95
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Abstract
The purpose of propaganda is to persuade a large group of people that certain beliefs are the best or most correct ones. This paper discusses how during times of difficulty for any country, propaganda can play an important role for both the state and the individual. It shows how the purpose of propaganda is to manipulate and gives examples of how at times of war such as World War II, propaganda had women persuaded to work for the war effort and how propaganda taught civilians how to use gas masks.
From the Paper
"More ominous propaganda in the United States justified the internment of Japanese Americans, many of whom had been born on American soil or had acquired American citizenship, for no other reason than their race and the fact that we were now at war with Japan. Propaganda promoted the concern about sabotage, especially on the West coast where most Japanese lived. These citizens were held in armed camps for the duration of the war, with propaganda making it palatable for a freedom-loving country."
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PR and Propaganda, 2005.
Argues that public relations is propaganda.
1,125 words (approx. 4.5 pages), 3 sources, MLA, £ 28.95
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Abstract
Using Frank Capra's "Why We Fight - Prelude to War" as an example and Edward Bernays seminal work on public relations and propaganda "Propaganda," this essay argues that public relations is propaganda.
From the Paper
"The Frank Capra film "Why We Fight Prelude to War" divides the world in two sides - one good and one evil. The good side is the U S and its allies what are called free peoples versus the evil side represented by dictatorships in Germany Italy and Japan known as the slave peoples. In Capra's film generally considered to be the best piece of cinema propaganda ..."
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The HUAC and the Hollywood Ten, 2003.
A look at the 1940s fiasco of the Hollywood Ten, in which ten prominent figures in the film business were blacklisted for supposed anti-American views.
1,307 words (approx. 5.2 pages), 6 sources, MLA, £ 31.95
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Abstract
This paper examines how the late 1940s proved to be an interesting time in American history. It looks at how a new threat arose against the U.S. government as American communists began spying for the Soviet Union. In particular, it explores how J. Edgar Hoover and the Federal Bureau of Investigation began to look into the mass media to find supposed Communist views, focusing on the film industry, and how, in 1947, the House Un-American Activities Committee under the leadership of a certain J. Parnell Thomas, held a hearing in which ten of Hollywood?s premier film makers, actors, and producers were found to hold anti-American Communist views in their works. These Hollywood members became known as ?The Hollywood Ten?.
From the Paper
"In order to single out supposed Communist members in Hollywood, the FBI devised certain set of criteria to determine if films contained anti-American views. Films were labeled subversive if ?Values or institutions judged to be particularly American are smeared or represented as evil in the movie, either explicitly or through casual references to current political events,? or if ?Values or institutions judged to be particularly anti-American or pro-Communist are glorified in the movie, either explicitly or through casual references to current political events (Noakes 5).? According to John Noakes, an assistant professor of sociology at Franklin and Marshall College, ?In four reports submitted between August 7 and November 17, 1947, the Los Angeles field office sent FBI headquarters reviews of seventeen movies released between 1943-1948 that it determined were subversive based on the MPAPAI criteria. "
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Hollywood's View of Germany, 2007.
This paper analyzes how Hollywood movies depicted Germany during World Wars I and II.
1,175 words (approx. 4.7 pages), 11 sources, MLA, £ 28.95
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Abstract
This paper explains that Hollywood's interpretation of Germany's participation in World Wars I and II fluctuated between politics and concern for profits but did not engage in propaganda as commonly charged. The author points out that independent movie producers, surged into the international market during World War I, which provided them with one of its greatest sources of plots and profits, such as D.W. Griffith's "Hearts of the World" (1918). The paper relates that the majority of the films were anti-war and action/war adventures made after the war, such as "The Four Horseman of the Apocalypse" (1924). The author relates that Hollywood films of the 1960s and 1970s revisited the anti-German theme and highlighted American heroism, such as "The Dirty Dozen" (1967); however, the the most outstanding film was Stanley Kramer's black and white "Judgment at Nuremberg" (1961). The paper cites many films and includes many quotations.
From the Paper
"There was one firm that did: Warner Bros. They shut down their German operations in 1933, three years before Hitler limited the release of American films. By 1939, the European market was closed off. In 1940 Will Hays, the dour President of the Motion Picture Production and Distribution Association (MPPDA), lifted the ban on anti-Nazi films that he had imposed after "Confessions of a Nazi Spy", and the cameras began to roll against Nazi Germany and for the defense of the United States. "Sergeant York" (1941) actually harked back to Tennessee farmer Alvin York's heroics in World War I."
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Propaganda, 2006.
A review of propaganda and the definitions thereof.
977 words (approx. 3.9 pages), 3 sources, MLA, £ 24.95
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Abstract
This paper takes a look at propaganda. The paper supplies various definitions of propaganda and discusses how, historically, propaganda had been seen to be a negative and heavy-handed way of promoting one's ideologies due to undue influences. According to the paper, this view of propaganda no longer holds true of today.
From the Paper
"By stating the "...some fear is capable of hitting the western United States... (McIntyre, 2006)" an assumption was made again without basis in fact as to who are really afraid of the missiles hitting the United States. Even pointing to the fact that, "It spun out of control seconds after it was launched and the North Koreans never had operational control of the missile" suggested that the North Koreans did not have the proper missile technology - but what were the basis for these statements? If the truth needed to be told, the U.S. government could have shown actual missile launch footages and the failure of some or all of the launched missiles. By doing it this way, statements made by government bureaucrats would coincide with the truth and not just "half-truths or un-truths!"
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