The riveting, untold story of George Creel and the Committee on Public Information -- the first and only propaganda initiative sanctioned by the U.S. government. When the people of the United States were reluctant to enter World War I, maverick journalist George Creel created a committee at President Woodrow Wilson's request to sway the tide of public opinion. The Committee on Public Information monopolized every medium and avenue of communication with the goal of creating a nation of enthusiastic warriors for democracy. Forging a path that would later be studied and retread by such characters as Adolf Hitler, the Committee revolutionized the techniques of governmental persuasion, changing the course of history. Selling the War is the story of George Creel and the epoch-making agency he built and led. It will tell how he came to build the and how he ran it, using the emerging industries of mass advertising and public relations to convince isolationist Americans to go to war. It was a force whose effects were felt throughout the twentieth century and continue to be felt, perhaps even more strongly, today. In this compelling and original account, Alan Axelrod offers a fascinating portrait of America on the cusp of becoming a world power and how its first and most extensive propaganda machine attained unprecedented results.

Contributions by Derek T. Buescher, Travis L. Cox, Trischa Goodnow, Jon Judy, John R. Katsion, James J. Kimble, Christina M. Knopf, Steven E. Martin, Brad Palmer, Elliott Sawyer, Deborah Clark Vance, David E. Wilt, and Zou Yizheng One of the most overlooked aspects of the Allied war effort involved a surprising initiative--comic book propaganda. Even before Pearl Harbor, the comic book industry enlisted its formidable army of artists, writers, and editors to dramatize the conflict for readers of every age and interest. Comic book superheroes and everyday characters modeled positive behaviors and encouraged readers to keep scrapping. Ultimately, those characters proved to be persuasive icons in the war's most colorful and indelible propaganda campaign. The 10 Cent War presents a riveting analysis of how different types of comic books and comic book characters supplied reasons and means to support the war. The contributors demonstrate that, free of government control, these appeals produced this overall imperative. The book discusses the role of such major characters as Superman, Wonder Woman, and Uncle Sam along with a host of such minor characters as kid gangs and superhero sidekicks. It even considers novelty and small presses, providing a well-rounded look at the many ways that comic books served as popular propaganda.

Britain's Secret Propaganda War is the first book to be written about The Foreign Office's Information Research Department (IRD) -- an important chapter in the history of the Cold War. The narrative is driven by actual accounts of IRD covert operations and includes a number of "exclusives." The IRD was set up under the Labour Government in 1948 and clandestinely financed from the Secret Intelligence Service budget. A large organisation with close links to MI6 -- with whom it shared many personnel -- it waged a vigorous covert propaganda campaign against Eastern Bloc Communism for nearly thirty years using journalists, politicians, academics and trade unionists -none of whom were "unwitting." Such famous names as George Orwell, Denis Healey, Stephen Spender, Bertrand Russell and Guy Burgess helped or backed the work of IRD.

For Home and Country examines the propaganda that targeted noncombatants on the home front in the United States and Europe during World War I. Cookbooks, popular magazines, romance novels, and government food agencies targeted women in their homes, especially their kitchens, pressuring them to change their domestic habits. Children were also taught to fear the enemy and support the war through propaganda in the form of toys, games, and books. And when women and children were not the recipients of propaganda, they were often used in propaganda to target men. By examining a diverse collection of literary texts, songs, posters, and toys, Celia Malone Kingsbury reveals how these pervasive materials were used to fight the war's cultural battle.

This book represents the first international investigation of military recruitment advertising, public relations and propaganda. Comprised of eleven case studies that explore mobilisation work in Africa, the Americas, Asia and Europe, it covers more than a hundred years of recent history, with chapters on the First and Second World Wars, the Cold War, and the present day. The book explores such promotion in countries both large and small, and in times of both war and peace, with readers gaining an insight into the different strategies and tactics used to motivate men, women and occasionally even children to serve and fight in many parts of the world. Readers will also learn about the crucial but little-known role of commercial advertising, public relations and media professionals in the production and distribution of recruitment promotion. This book, the first of its kind to be published, will explore that role, and in the process address two questions that are central to studies of media and conflict: how do militaries encourage civilians to join up, and are they successful in doing so? It is a multi-disciplinary project intended for a diverse academic audience, including postgraduate students exploring aspects of war, propaganda and public opinion, and researchers working across the domains of history, communications studies, conflict studies, psychology, and philosophy.

In this book, Steven R. Brydon analyzes American war propaganda spanning from the Spanish-American War through the wars in Afghanistan and Iraq. Brydon argues that many of these wars were fought based on false or misleading narratives, beginning with blaming Spain for the sinking of the Maine and continuing, most recently, with charges that Saddam Hussein had weapons of mass destruction and was involved in the terrorist attacks of September 11. Research has shown that well-told stories can affect the public’s beliefs, attitudes, and actions, and Brydon has identified some of these recurring stories that have been told to support and sustain each war during this time period. Using Fisher’s narrative paradigm, Brydon critically evaluates these “war stories” to determine if they possessed narrative coherence and fidelity that provided good reasons to go to war, rather than simply the appearance of these qualities. The responsibility, Brydon stresses, is on the media and on academics to view future war narratives through a critical lens, in order to best inform the American people. Scholars of media studies, history, military studies, American studies, and international relations will find this book particularly useful.