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posters depicted soldiers from different countries, such as
Australian and British, many Commonwealth countries, various occupied countries, and many Allied countries, or British and American sailors. Merchant ships were used to dramatise Lend-Lease. Resistance movements were also depicted, sometimes with Allied agents or receiving message from them.
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stating "we should emphasise wherever possible the wickedness and evil perpetrated in the occupied countries." Subsequently, the Home
Planning Committee felt it essential to portray fully "the evil things which confront us ... to fortify the will to continue the struggle". By 1942, the fear of invasion (as depicted in films such as
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The story of
British cinema in the Second World War is inextricably linked with that of the Ministry of Information. Formed on 4 September 1939, the day after Britain's declaration of war, the Ministry of Information (MOI) was the central government department responsible for publicity and propaganda
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The
British attack on Burma was taken chiefly so that the British could say that they had taken back their colonial possessions with their own armies. It was so neglected in news and propaganda that it was termed the "forgotten army". Similar campaigns were conducted in Malaya and Singapore, for the
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on the BBC produced a great impact on
Germany; Goebbels believed it had to show governmental inspiration, and while propaganda efforts were made to talk the British around, the German press were instructed to attack the rejection. The speed of the rejection unquestionably led the great impact, which
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was created to foment anti-German feeling; not only do the
Germans attack a lightship, not traditionally regarded as a proper target, but machine-gun the survivors in the water, so that only one lives. Posters depicted Germans in a sinister light. Propaganda shifted from downplaying raids to playing
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Much was made of the dictatorial nature of Hitler's government. Germany was treated as a particular font of evil within the Axis, and a greater threat than Japan and Italy. Churchill presented Hitler as the central issue of the war. The
Germans were also presented as evil, with some stating that the
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Recipes were spread for cooking efficiently and nutritiously on the restricted diet that included many substitutions. The
Ministry of Food urged that it was not clever to take more than your share. While bread was not rationed, wholemeal bread was encouraged. Propaganda also publicised that pregnant
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noted that "sex appeal" had been introduced in the form of a beautiful spy, whom they insisted on "christening Olga
Polovsky after the famous song." In June 1941 they further noted that, having covered public house talk, wayside conversations with strangers, and "harmless chat" with friends when on
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Originating in a 1940 campaign with the catchphrase "Be like Dad, keep Mum," the best-known image from this campaign is the 1942 poster "Keep mum, she's not so dumb" by the architect and artist Gerald
Lacoste. It depicts a glamorous blonde woman reclining, and officers from each branch of the Armed
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These posters were a series of three issued as a motivational poster by the British Government in 1939. The three posters in the series were, "Freedom is in peril, defend it with all your might." "YOUR COURAGE, YOUR CHEERFULNESS AND YOUR RESOLUTION WILL BRING US VICTORY" (All versions capitalised,
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Propaganda fomented support for allies in the war, first for the European nations and then for the USSR and USA, with support for the Commonwealth being pervasive. Promoting disunity was, in fact, a major desire of Axis forces. Depictions of forces included Malays, West Africans, and Soviet. Many
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Salvage operations were depicted as transforming scrap to weapons. An exhibition, "Private Scrap" was created to demonstrate the uses of scrap and underscore the link between civilian efforts and the military forces. Iron railings and aluminium pots were targeted. Housewives' salvage efforts were
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led to the slogan "Dig for Victory!" Every garden could be used for this purpose. Because potatoes could be grown this way, the character "Potato Pete" was created to remind people that potatoes did not take up room on ships. Radio broadcasts encouraged the nation that growing your own food was a
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Posters outlined what to do when travelling in a blackout. Instructions included the advice that torches should be pointed downwards to avoid blinding people, that care should be taken while crossing roads, and that when alighting from a train, passengers should check that the door opened on to a
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As a result, the typical British war film attempts to construct a gripping suspense story which at the same time conveys propaganda ideas in support of the Allied cause. Kenneth Clark, as head of the Films Division of the MOI, argued in 1940 that the public must be convinced of German brutality,
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Careless talk propaganda discouraged talking about sensitive material where it could be overheard by spies, showing either an Axis eavesdropper or depicting a death caused by such information leaking. It was also intended to prevent morale-sapping rumours from spreading. The first posters were
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in the Second World War. It was the ministry's function to "present the national case to the public at home and abroad". The MOI was keenly aware of the value of commercially produced entertainment films in furthering the national cause generally and maintained close contact with film makers:
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Because the war limited other options, the bus system was overloaded, and posters urged people to walk for short distances, to ease the burden. For train journeys, posters urged consideration of whether the trip was necessary and the importance of food and ammunition carried by train.
439:, killing civilians including Americans, on the first day of the war was widely exploited as demonstrating that the U-boat was the same instrument of terror as in World War I; the Germans attempted to counter it by claiming the British had sunk the ship themselves to blacken Germany.
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dealt with housewives' conservation efforts. People were also called to "make do" so that raw materials would be available for the war effort. Even an unattended kettle, boiling over, was waste. This was to be applied at work, as well, even though the firm was paying for wasted fuel.
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them up, to inspire hatred of the enemy, and sympathy with neutrals, despite the encouragement that this might give the enemy and its potential impact on the calm of the populace. Atrocity reports were presented both as summaries of known facts and news reports as they occurred.
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The MOI issued a number of books for other ministries notably 'The Army at War' series for the War Office. A few weeks after D-Day, crates of books were landed in Normandy, to be distributed to French booksellers; an equal number of American and British efforts were included.
221:'s broadcasts of the Blitz were particularly useful in propagandising the United States, because of his calm, factual, and unopinionated manner; he received full rein and facilities, even access to Churchill. His reports of British courage and tenacity helped stimulate hope.
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The Ministry both advised the producers on the suitability of subjects which they had suggested and proposed subjects which we thought would do good overseas. Whenever the ministry had approved a subject we gave every help to the producer in obtaining facilities to make the
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Posters were also targeted at increasing production. Pictures of the Armed Forces often called for support from civilians, and posters juxtaposed civilian workers and soldiers to urge that the forces were relying on them and instruct them in the importance of their role.
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Posters urged children to be sent from London. Both pamphlets and posters urged that evacuated children not be brought back. Many were, in fact, brought back during the Phoney War, and the government redoubled efforts to persuade them to let the children remain away.
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for "V", for broadcasts. This alarmed the Germans until Goebbels conceived the idea of trying to reframe the use of a German composer as a German victory. British propaganda was circulated in occupied countries through the efforts of the underground movements.
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was created to propagandise the United States to enter the war, and presented massive amounts of propaganda which they successfully concealed as news reports, not one of them having been "rumbled" as a propaganda piece during the war. The news coverage of the
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Male conscription ensured that general recruitment posters were not needed, but specialist services posters did exist, and many posters aimed at women such as Land Army, or ATS. Films and posters encouraged women to go to work in munitions factories.
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British propaganda, like American propaganda, presented the war as an issue of good versus evil, a factor that allowed them to rouse the population to fight a just war, and use themes of resistance and liberation to occupied countries.
487:, the minister of information regarded it as impossible to rouse the British to sentiments similar to those the British public held toward Germany, as the Japanese were across the globe and the Germans there, and his views prevailed.
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women could get orange juice and vitamin pills by bringing their ration books and medical certificate to the Food Office. Waste paper required recycling to save shipping. The Squander Bug campaign simply urged spending less.
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made many calls for the British to fight on, and for British units to fight until they died rather than submit. His calls for fight to victory inspired a hardening of public opinion. Determination raised the numbers of the
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Forces about her talking to each other. It is implied that the officers are talking military secrets, on the (wrongful) assumption that the woman is only a "dumb blonde" and so will not pass these secrets on to the enemy.
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to influence the population towards support for the war effort. A wide range of media was employed aimed at local and overseas audiences. Traditional forms such as newspapers and posters were joined by new media including
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The best known images from this series are by Fougasse, depicting people giving away secrets in everyday situations (e.g. sitting on the bus, not seeing caricatures of Hitler, Goebbels, and Goering sitting behind them).
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authorisation would have prevented; this produced consternation in the government, as the effect was desirable, but they did not know whether such a spokesman would again happen to say what the government wanted.
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and inspired a willingness to fight to the last ditch, in a manner rather similar to Japanese determination, and the slogan "You can always take one with you" was used in the grimmest times of the war.
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660:," as a reminder that "when in the company of a beautiful woman, remember that beauty may conceal brains." Service personnel seemed particularly ready to disclose their station and line of work.
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novels depicted Nazi invasions of Great Britain as a form of "cautionary tales". Up until 1943, these were grim tales, presenting British victims; after that, a more heroic note increased.
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The British Ministry of Information put out a booklet on countering ideological fears of Bolshevism, including claims that the Red Terror was a figment of Nazi imagination. This inspired
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626:" (Cyril Bird), a comic artist. After concluding that such talk was not a serious source of intelligence, and would often be dismissed as a plant, the campaign was not increased.
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57:. A wide range of themes were addressed, fostering hostility to the enemy, support for allies, and specific pro war projects such as conserving metal and growing vegetables.
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Italy's entrance to the war was derided for their having waited until victory looked secure, but the anti-Italian feeling never reached the pitch of anti-German sentiment.
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173:". The original designs were approved for mass production and distribution in April 1939, though there were rarely displayed, and remaining stock was pulped in 1940.
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Posters were widely used in the propaganda campaigns. Their content ranged from simple instructions to purely motivational content. One series of posters for
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The V Campaign targeted the occupied countries, using "V" to represent the French word for "victory" and the Dutch for "freedom", and the opening of
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A pamphlet for soldiers, "The Japanese in Battle" set out to debunk the myth of the Japanese superman after the initial wave of Japanese victories.
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185:, pamphlets were being dropped. On the anniversary of Hitler's premature declaration of victory against the Soviet Union, in 1941, copies of the
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leave, the government believed they had identified "the major problem" at last. The campaign was to make a direct appeal along the lines of "
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Radio was widely used, with broadcasts in 23 languages; it proved to be rather simple to the occupied countries than to Germany itself.
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Others praised those who took such children in, such as depicting a housewife in a line of uniformed women as she welcomes children.
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Newsreels had particular effect on American audiences, the dome of St. Paul's over the ruins being a particularly significant image.
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Propaganda was deployed to encourage people to economise on travel, save waste paper, and to obey rationing. The propaganda film
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British victories were announced to the public for morale purposes, and broadcast to Germany for purposes of undermining morale.
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Transmitters in England would also pose as broadcasting from Germany, where mostly factual reports would be studded with lies.
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was used in one African recruiting poster. Posters depicting British and Australian unity often featured a Japanese figure.
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Prior to the German attack on the Soviet Union, the USSR was treated with hostility, such as when a paper explained that
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Leaflets were popularly used for propagandising enemy-held territory, by dropping them from aeroplanes. As early as the
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attack was produced in America in the hopes that the public opinion of supplying the UK would turn in their favour.
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was a product of Tsarist, not Bolshevist, Russia. This treatment became more favourable after Germany's attack. The
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People were encouraged to spend holidays assisting at harvest, even when they were also encouraged to stay home.
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Propaganda was deployed to encourage people to volunteer for onerous or dangerous war work, such as factories or
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presented militaristically, even depicting weapons as coming directly from the efforts of women to save scrap.
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supported the bombing of Japan on the grounds of the atrocities committed against downed airmen and in China.
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The Battle of the Atlantic: Hitler's Gray Wolves of the Sea and the Allies' Desperate Struggle to Defeat Them
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The Battle of the Atlantic: Hitler's Gray Wolves of the Sea and the Allies' Desperate Struggle to Defeat Them
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The Battle of the Atlantic: Hitler's Gray Wolves of the Sea and the Allies' Desperate Struggle to Defeat Them
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The Battle of the Atlantic: Hitler's Gray Wolves of the Sea and the Allies' Desperate Struggle to Defeat Them
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The Battle of the Atlantic: Hitler's Gray Wolves of the Sea and the Allies' Desperate Struggle to Defeat Them
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Finding Aid to British and British Commonwealth war posters from the Second World War, circa 1939–circa 1945
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111:(1942) shows Dutch civilians risking their lives to help a group of British airmen back to England.
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same reason, even though military officials preferred joining forces with the American campaigns.
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87:) had receded, and film makers began to turn to the brutal reality of life in occupied countries.
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The instant—and unauthorised—rejection of the peace terms of Hitler's 19 July 1940 speech by
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Selling War: The British Propaganda CAmpaign Against American "Neutrality" in World War II
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second printing included considerable underlining of nouns for even more emphasis) and "
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Propaganda in War 1939–1945: Organisation, Policies and Publics in Britain and Germany
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Propaganda in War 1939–1945: Organisation, Policies and Publics in Britain and Germany
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Propaganda in War 1939–1945: Organisation, Policies and Publics in Britain and Germany
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Propaganda in War 1939–1945: Organisation, Policies and Publics in Britain and Germany
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Propaganda in War 1939–1945: Organisation, Policies and Publics in Britain and Germany
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Propaganda in War 1939–1945: Organisation, Policies and Publics in Britain and Germany
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Propaganda in War 1939–1945: Organisation, Policies and Publics in Britain and Germany
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Propaganda in War 1939–1945: Organisation, Policies and Publics in Britain and Germany
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Propaganda in War 1939–1945: Organisation, Policies and Publics in Britain and Germany
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The campaign was issued in 1942 to all ranks, with this particular image intended for
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show the French Resistance and the heroism of ordinary French civilians, while
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concentration camps would not have been possible on French or British soil.
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Posters also encouraged growing food in gardens. The difficulties of the
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Propaganda in Japan during the Second Sino-Japanese War and World War II
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Soldiers of the Sun: The Rise and Fall of the Imperial Japanese Army
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The turn of the war made BBC's war commentaries much more stirring.
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Films were also imported. Churchill ordered the entire sequence of
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Information and media used to influence support for the war effort
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The Pacific war was regarded as peripheral by most British, but
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Britain can take it: the British cinema in the Second World War
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National Fictions. World War II in British Films and Television
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Britain can take it: the British cinema in the Second World War
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British WWII propaganda poster encouraging cultivation of food
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British WWII propaganda poster commemorating the village of
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Visions of Victory: The Hopes of Eight World War II Leaders
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Visions of Victory: The Hopes of Eight World War II Leaders
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https://www.librarything.com/author/ministryofinformatio-1
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and other places where officers met. At the end of May,
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Unless we can divide these two fellows – we're sunk!
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Careless talk costs lives. Mr. Hitler wants to know!
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550:received particular attention as a great victory.
685:War art in The National Archives (United Kingdom)
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475:found the disaster at Singapore and the loss of
922:The Home Front: War Years in Britain, 1939–1945
825:Propaganda: The Art of Persuasion: World War II
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1838:Merchant ships loading in New York harbour
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241:British WWII propaganda poster during the
99:told the story of the Belgian resistance.
2082:National Archives' Art of War: Propaganda
1691:Retribution: The Battle for Japan 1944-45
1631:Retribution: The Battle for Japan 1944-45
1611:Retribution: The Battle for Japan 1944-45
1562:Retribution: The Battle for Japan 1944-45
980:Retribution: The Battle for Japan 1944-45
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753:, Edinburgh University Press, 1994, p. 4.
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311:Women of Britain, Come into the Factories
25:A collection of posters on various themes
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945:"Works by the Ministry of Information,"
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1851:Preparation for an allied aircraft drop
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788:Anthony Aldgate and Jeffrey Richards,
749:Anthony Aldgate and Jeffrey Richards,
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827:. New York: Chelsea House Publishers.
720:Soviet propaganda during World War II
680:British propaganda during World War I
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695:Propaganda and India in World War II
629:This also was the theme of the film
533:Together we shall strangle Hitlerism
1154:Lend a hand with the potato harvest
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1997:. Oxford: Oxford University Press.
583:where the opening notes match the
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1760:Royal West African Frontier Force
1141:Remember – they're relying on you
857:(2nd ed.). London: Pimlico.
2484:Propaganda in the United Kingdom
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249:During the Phoney War, the book
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2061:(1909–1983). Michael Pick.
1669:Meirion and Susie Harries,
1582:African artillery in action
1499:The World Hitler Never Made
1479:The World Hitler Never Made
949:, accessed 5 November 2018.
710:Propaganda of Fascist Italy
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557:to leave the BBC and write
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124:to be shown to the public.
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1989:Cull, Nicholas J. (1995).
1193:Shine your torch downwards
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286:When the U-boat commander
154:Billy Brown of London Town
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1812:Eleven smiling servicemen
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1370:Little gift from Grannie
1357:Up housewives and at 'em
823:Rhodes, Anthony (1976).
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2489:World War II propaganda
1864:Resistance Headquarters
1206:Lookout in the blackout
1071:19 January 2011 at the
853:Overy, Richard (2006).
492:anti-Japanese sentiment
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258:In 1940 in particular,
34:Ministry of Information
29:Britain re-created the
2186:Bosnia and Herzegovina
1973:"The Secret Persuaders
1497:Gavriel D. Rosenfeld,
919:Briggs, Susan (1975).
779:, London, 1984, p. 15.
766:, London, 1979, p. 12.
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617:A careless talk poster
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385:Battle of the Atlantic
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334:Evacuation of children
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171:Keep Calm and Carry On
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252:Why Britain is at War
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1475:Gavriel D. Rosenfeld
1265:Walk short distances
592:To the United States
548:Battle of Stalingrad
445:Men of the Lightship
424:Sefton Delmer (1958)
162:Motivational posters
36:for the duration of
2402:States with limited
1180:Volunteer housewife
1128:The Fighting Forces
999:Gerhard L. Weinberg
653:Advertiser's Weekly
453:Alternative history
432:The sinking of the
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855:Why the Allies Won
775:Geoff Hurd (ed.),
764:Ministry of Morale
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84:Went the Day Well?
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2048:National Archives
2027:Michael Balfour,
2007:Michael Balfour,
1979:, 19 August 2006.
1961:978-0-8014-4891-1
1931:Michael Balfour,
1911:Michael Balfour,
1901:978-0-06-122859-9
1799:Allied servicemen
1773:Soviet Ski troops
1699:978-0-307-26351-3
1639:978-0-307-26351-3
1619:978-0-307-26351-3
1570:978-0-307-26351-3
1537:Michael Balfour,
1517:Michael Balfour,
1454:Michael Balfour,
1434:Michael Balfour,
1401:Andrew Williams,
1381:Michael Balfour,
1309:Andrew Williams,
1289:Andrew Williams,
1243:Andrew Williams,
1219:Unattended kettle
1044:Andrew Williams,
988:978-0-307-26351-3
968:978-0-8014-4891-1
658:Cherchez la femme
473:Winston Churchill
260:Winston Churchill
243:Battle of Britain
90:The Day Will Dawn
2496:
2144:Sovereign states
2129:
2122:
2115:
2106:
2105:
2069:
2056:
2050:
2045:
2039:
2025:
2019:
2005:
1999:
1998:
1996:
1986:
1980:
1969:
1963:
1953:Books As Weapons
1949:
1943:
1929:
1923:
1909:
1903:
1893:The Storm of War
1886:
1880:
1873:
1867:
1860:
1854:
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1795:
1789:
1786:Back to the wall
1782:
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956:
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869:
868:
850:
829:
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820:
793:
786:
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767:
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754:
747:
730:Black propaganda
622:illustrated by "
355:Preventing waste
219:Edward R. Murrow
150:London Transport
102:Tomorrow We Live
2504:
2503:
2499:
2498:
2497:
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2421:Northern Cyprus
2403:
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2318:North Macedonia
2139:
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2067:Norman Hartnell
2057:
2053:
2046:
2042:
2026:
2022:
2006:
2002:
1987:
1983:
1970:
1966:
1951:John B. Hench,
1950:
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1930:
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1073:Wayback Machine
1063:
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1016:
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993:
977:
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958:John B. Hench,
957:
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832:
821:
796:
787:
783:
774:
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757:
748:
744:
739:
734:
700:Nazi propaganda
675:
666:
641:
632:The Next of Kin
611:
594:
573:
540:
523:
515:
485:Brendan Bracken
469:
407:
398:
361:They Also Serve
357:
348:
336:
305:
274:
235:
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213:
204:
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166:
160:The April 1939
138:
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68:
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2206:Czech Republic
2203:
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2109:
2103:
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2093:
2084:
2077:
2076:External links
2074:
2071:
2070:
2059:Gerald Lacoste
2051:
2040:
2020:
2000:
1981:
1971:William Boyd,
1964:
1944:
1924:
1904:
1889:Andrew Roberts
1881:
1877:Coded messages
1868:
1855:
1842:
1829:
1816:
1803:
1790:
1777:
1764:
1751:
1747:Malay Regiment
1738:
1715:
1702:
1689:Max Hastings,
1682:
1662:
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1629:Max Hastings,
1622:
1609:Max Hastings,
1602:
1586:
1573:
1550:
1530:
1510:
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1447:
1427:
1414:
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1348:
1335:
1331:Salvage poster
1322:
1302:
1282:
1278:Dig for Plenty
1269:
1256:
1236:
1223:
1210:
1197:
1184:
1171:
1158:
1145:
1132:
1119:
1103:
1090:
1086:Land Army girl
1077:
1057:
1037:
1014:
991:
978:Max Hastings,
971:
951:
938:
931:
870:
863:
830:
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581:Fifth Symphony
572:
569:
565:Katyn Massacre
539:
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2444:Former states
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2037:0-7100-0193-2
2034:
2031:, p. 191–192
2030:
2024:
2018:
2017:0-7100-0193-2
2014:
2010:
2004:
1995:
1994:
1985:
1978:
1974:
1968:
1962:
1958:
1954:
1948:
1942:
1941:0-7100-0193-2
1938:
1935:, p. 215–216
1934:
1928:
1922:
1921:0-7100-0193-2
1918:
1914:
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1800:
1794:
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1748:
1742:
1736:
1735:0-07-030622-2
1732:
1728:
1724:
1723:Edwin P. Hoyt
1719:
1712:
1706:
1700:
1696:
1692:
1686:
1680:
1679:0-394-56935-0
1676:
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1666:
1660:
1659:0-521-85254-4
1656:
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1548:
1547:0-7100-0193-2
1544:
1540:
1534:
1528:
1527:0-7100-0193-2
1524:
1521:, p. 195–196
1520:
1514:
1508:
1507:0-521-84706-0
1504:
1500:
1494:
1488:
1487:0-521-84706-0
1484:
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1471:
1465:
1464:0-7100-0193-2
1461:
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1444:0-7100-0193-2
1441:
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1411:0-465-09153-9
1408:
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1398:
1392:
1391:0-7100-0193-2
1388:
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1378:
1371:
1365:
1358:
1352:
1345:
1344:Private Scrap
1339:
1332:
1326:
1320:
1319:0-465-09153-9
1316:
1312:
1306:
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1299:0-465-09153-9
1296:
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1253:0-465-09153-9
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1055:
1054:0-465-09153-9
1051:
1047:
1041:
1035:
1034:0-07-030622-2
1031:
1027:
1023:
1022:Edwin P. Hoyt
1018:
1012:
1011:0-521-85254-4
1008:
1004:
1000:
995:
989:
985:
981:
975:
969:
965:
961:
955:
948:
942:
934:
932:0-07-007805-X
928:
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923:
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913:
911:
909:
907:
905:
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901:
899:
897:
895:
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864:0-393-03925-0
860:
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839:
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826:
819:
817:
815:
813:
811:
809:
807:
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803:
801:
799:
791:
785:
778:
772:
765:
762:Ian McLaine,
759:
752:
746:
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728:
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723:
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708:
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678:
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661:
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636:
634:
633:
627:
625:
615:
609:Careless talk
606:
604:
599:
589:
586:
582:
578:
568:
566:
562:
561:
556:
555:George Orwell
551:
549:
545:
531:
527:
518:
510:
508:
507:
506:The Spectator
502:
499:
495:
493:
488:
486:
482:
478:
474:
467:Anti-Japanese
464:
461:
460:Sefton Delmer
456:
454:
450:
447:
446:
440:
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430:
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416:
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393:
389:
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352:
343:
340:
331:
328:
324:
320:
318:
309:
300:
297:
295:
294:
289:
288:GĂĽnther Prien
284:
282:
277:
269:
266:
261:
256:
254:
253:
244:
239:
225:
222:
220:
216:
208:
199:
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184:
174:
172:
163:
157:
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142:
133:
125:
123:
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117:
112:
110:
109:
104:
103:
98:
97:
92:
91:
86:
85:
77:
72:
58:
56:
52:
48:
47:cinema (film)
43:
39:
35:
32:
23:
19:
2453:Soviet Union
2448:East Germany
2443:
2431:Transnistria
2062:
2054:
2043:
2028:
2023:
2008:
2003:
1992:
1984:
1977:The Guardian
1976:
1967:
1952:
1947:
1932:
1927:
1912:
1907:
1892:
1884:
1871:
1858:
1845:
1832:
1819:
1806:
1793:
1780:
1767:
1754:
1741:
1727:Hitler's War
1726:
1718:
1711:Allied Unity
1705:
1690:
1685:
1670:
1665:
1650:
1645:
1630:
1625:
1610:
1605:
1576:
1561:
1558:Max Hastings
1553:
1538:
1533:
1518:
1513:
1498:
1493:
1478:
1470:
1455:
1450:
1435:
1430:
1417:
1402:
1397:
1382:
1377:
1364:
1351:
1338:
1325:
1310:
1305:
1290:
1285:
1272:
1259:
1244:
1239:
1226:
1213:
1200:
1187:
1174:
1161:
1148:
1135:
1122:
1093:
1080:
1060:
1045:
1040:
1026:Hitler's War
1025:
1017:
1002:
994:
979:
974:
959:
954:
941:
921:
854:
824:
789:
784:
776:
771:
763:
758:
750:
745:
667:
652:
646:
642:
630:
628:
620:
595:
574:
558:
552:
541:
538:Soviet Union
524:
516:
513:Anti-Italian
504:
503:
500:
496:
489:
470:
457:
451:
443:
441:
435:
431:
427:
399:
390:
382:
378:
374:
360:
358:
349:
341:
337:
329:
325:
321:
314:
298:
291:
285:
279:Even during
278:
275:
257:
250:
248:
223:
217:
214:
205:
193:
186:
180:
167:
147:
131:
121:Why We Fight
119:
113:
106:
100:
94:
88:
82:
79:
74:
69:
40:to generate
38:World War II
28:
18:
2404:recognition
2378:Switzerland
2313:Netherlands
1247:p. 110–111
1048:p. 124–126
715:Rommel myth
560:Animal Farm
544:Tchaikovsky
405:Anti-German
116:Frank Capra
31:World War I
2473:Categories
2458:Yugoslavia
2348:San Marino
2308:Montenegro
2288:Luxembourg
2268:Kazakhstan
2171:Azerbaijan
2136:Propaganda
2065:1982 also
737:References
603:Blitzkrieg
585:Morse code
351:platform.
317:Home Guard
265:Home Guard
233:Resistance
183:Phoney War
96:Uncensored
42:propaganda
2283:Lithuania
2138:in Europe
2011:, p. 190
1915:, p. 214
1541:, p. 195
1458:, p. 299
1438:, p. 201
1385:, p. 163
792:, p. 133.
577:Beethoven
481:Hong Kong
471:Although
442:The film
272:Victories
196:Garibaldi
152:featured
128:Newsreels
51:newsreels
2411:Abkhazia
2363:Slovenia
2358:Slovakia
2333:Portugal
2191:Bulgaria
1955:, p. 29
1895:, p. 25
1501:, p. 40
1481:, p. 39
1069:Archived
673:See also
639:Keep mum
624:Fougasse
434:SS
346:Blackout
177:Leaflets
2388:Ukraine
2338:Romania
2298:Moldova
2256:Ireland
2251:Iceland
2246:Hungary
2236:Germany
2231:Georgia
2221:Finland
2216:Estonia
2211:Denmark
2196:Croatia
2181:Belgium
2176:Belarus
2166:Austria
2161:Armenia
2156:Andorra
2151:Albania
1729:p. 253
1693:p. 281
1673:p. 417
1653:p. 143
1313:p. 111
1293:p. 110
1028:p. 157
1005:p. 139
962:, p. 1
436:Athenia
281:Dunkirk
136:Posters
2416:Kosovo
2383:Turkey
2373:Sweden
2353:Serbia
2343:Russia
2328:Poland
2323:Norway
2303:Monaco
2273:Latvia
2241:Greece
2226:France
2201:Cyprus
2035:
2015:
1959:
1939:
1919:
1899:
1733:
1697:
1677:
1657:
1637:
1633:p. 73
1617:
1613:p. 63
1568:
1545:
1525:
1505:
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1389:
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966:
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415:Lidice
228:Themes
66:Cinema
2368:Spain
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2263:Italy
1564:p. 7
477:Burma
211:Radio
202:Books
76:film.
61:Media
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