Mixing film history with social history, Reel Patriotism examines the role played by the American film industry during World War I and the effects of the industry’s pragmatic patriotism in the decade following the war. Looking at such films as Joan the Woman and Wings and at the war-time activities of Mary Pickford and Charlie Chaplin, film distributors, including George Kleine, and the National Association of the Motion Picture Industry, this book shows how heavily publicized gestures of patriotism benefited the reputation and profits of the movie business. Leslie Midkiff DeBauche shows how the United States government’s need to garner public support for the war, conserve food, raise money, and enlist soldiers was met by the film industry. Throughout the nineteen months of American involvement in World War I, film studios supported the war effort through the production of short instructional films, public speaking activities of movie stars, the civic forum provided by movie theaters, and the National Association of the Motion Picture Industry’s provision of administrative personnel to work directly with government agencies. While feature films about the war itself never dominated the release schedules of film distributors, they did become a staple film industry offering throughout the late 1910s and 1920s. The film industry had much to gain, DeBauche demonstrates, from working closely with the U.S. government. Though the war posed a direct challenge to the conduct of business as usual, the industry successfully weathered the war years. After the war, film producers, distributors, and exhibitors were able to capitalize on the good will of the movie-goer and the government that the industry’s war work created. It provided a buffer against national censorship when movie stars became embroiled in scandal, and it served as a selling point in the 1920s when major film companies began to trade their stock on Wall Street.

During the 1970s and beyond, political causes both left and right—the gay rights movement, second-wave feminism, the protests against busing to desegregate schools, the tax revolt, and the anti-abortion struggle—drew inspiration from the protest movements of the 1960s. Indeed, in their enthusiasm for direct-action tactics, their use of street theater, and their engagement in grassroots organizing, activists in all these movements can be considered "children of the Sixties." Invocations of America's founding ideals of liberty and justice and other forms of patriotic protest have also featured prominently in the rhetoric and image of these movements. Appeals to the Declaration of Independence and the Bill of Rights have been made forcefully by gay rights activists and feminists, for instance, while participants in the antibusing movement, the tax revolt, and the campaign against abortion rights have waved the American flag and claimed the support of the nation's founders. In tracing the continuation of quintessentially "Sixties" forms of protest and ideas into the last three decades of the twentieth century, and in emphasizing their legacy for conservatives as well as those on the left, American Patriotism, American Protest shows that the activism of the civil rights, New Left, and anti-Vietnam War movements has shaped America's modern political culture in decisive ways. As well as providing a refreshing alternative to the "rise and fall" narrative through which the Sixties are often viewed, Simon Hall's focus on the shared commitment to patriotic protest among a diverse range of activists across the political spectrum also challenges claims that, in recent decades, patriotism has become the preserve of the political right. Full of original and insightful observations, and based on extensive archival research, American Patriotism, American Protest transforms our understanding of the Sixties and their aftermath.

Any war wreaks havoc on cities as well as the countryside. Endangered Cities explores specifically the urban experience in twentieth-century war-torn Europe. Volume contributors draw on the history of cities in seven European countries between 1914 and 1945 in which in almost every instance the boundaries between civilian and military powers collapse. Eleven original essays examine major phenomena during the urban war-time experience, including the effort to anticipate and defend against air attack, the burdens of siege and occupation, the rituals that developed around popular entertainment, black markets, the problems posed by death and destruction, and how cities devastated by war rose from the rubble to rebuild. Contributors include: Martin Baumeister, Roger Chickering, Davide Deriu, Marcus Funck, Andreas R. Hofmann, Benoît Majerus, Efi Markou, Karl D. Qualls, Eva-Maria Stolberg, Guy Thewes, Julia S. Torrie, and Malte Zierenberg.

“Stick it, Canada! Buy more Victory Bonds.” The First World War demanded deep personal sacrifice on the battlefield and on the home front – and it also made unrelenting financial demands. Boosters and Barkers is a highly original examination of the drive to finance Canadian participation in the conflict. David Roberts examines Ottawa’s calls for direct public contributions in the form of war bonds; the intersections with imperial funding, taxation, and conventional revenue; and the substantial fiscal implications of participation in the conflict during and after the war. Canada’s bond campaigns used print, images, and music to sell both the war and public engagement. They received an astounding response, generating revenue to cover almost a third of the country’s total war costs, which were estimated at $6.6 billion – a dramatic charge on a dominion so far from the front. This story is one of inexorable need, shrewd propaganda, resistance, engagement, and long-term consequences.

The first biography of Crystal Eastman, this book tells the story of one of the most prominent social justice activists of the twentieth century. A founder of the ACLU, Eastman helped to shape the defining movements of the modern era--labor, feminism, peace, and free speech.

A “wide-ranging and sophisticated anthology” comparing theaters of war to wars in the movie theater (Dennis Showalter, author of Patton and Rommel). Why We Fought makes a powerful case that film can be as valuable a tool as primary documents for improving our understanding of the causes and consequences of war. A comprehensive look at war films, from depictions of the American Revolution to portrayals of September 11 and its aftermath, this volume contrasts recognized history and historical fiction with the versions appearing on the big screen. The text considers a selection of the pivotal war films of all time, including All Quiet on the Western Front, Sands of Iwo Jima, Apocalypse Now, Platoon, and Saving Private Ryan—revealing how film depictions of the country’s wars have shaped our values, politics, and culture, and offering a unique lens through which to view American history. Named as a Choice Outstanding Academic Title

Fear can be more dangerous than the threats we think loom over us—how Germans and German Americans were perceived as a dangerous enemy during World War I. Although Americans have long celebrated their nation's diversity, they also have consistently harbored suspicions of foreign peoples both at home and abroad. In Age of Fear, Zachary Smith argues that, as World War I grew more menacing and the presumed German threat loomed over the United States, many white "Anglo-Saxon" Americans grew increasingly concerned about the vulnerability of their race, culture, and authority. Consequently, they directed their long-held apprehensions over ethnic and racial pluralism onto their German neighbors and overseas enemies whom they had once greatly admired. Smith examines the often racially tinged, apocalyptic arguments made during the war by politicians, propaganda agencies, the press, novelists, and artists. He also assesses citizens' reactions to these messages and explains how the rise of nationalism in the United States and Europe acted as a catalyst to hierarchical racism. Germans in both the United States and Europe eventually took the form of the proverbial "Other," a dangerous, volatile, and uncivilized people who posed an existential threat to the nation and all that Anglo-Saxon Americans believed themselves to be. Exploring what the Great War meant to a large portion of the white American population while providing a historic precedent for modern-day conceptions of presumably dangerous foreign Others, Age of Fear is a compelling look at how the source of wartime paranoia can be found in deep-seated understandings of racial and millennial progress.