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Film Propaganda and its Audience: The Example of Britain's Official Films during the First World War
Abstract
its policies by mounting a large and systematic campaign of official propaganda. Within days of the declaration of war, Asquith asked Charles Masterman (a member of the cabinet and chairman of the National Health Insurance Commission) to initiate such a campaign, and Masterman set up his largely secret organization at Wellington House - the London headquarters of the Insurance Commission. To begin with Masterman and his colleagues were exclusively concerned with neutral and allied opinion abroad, but by 1917 domestic enthusiasm for the war had begun to wane, and they turned their attention to public opinion at home as well. Indeed, in the last two years of the war, they also sought to influence public opinion in enemy countries as well. As the scale of official propaganda increased, the government twice took the
... Pada Perang Dunia Pertama, misalnya, Inggris menggunakan karyakarya sastra dengan tujuan memperluas pasar propagandanya (Reeves, 1983). Film kemudian digunakan propagandis Inggris pada sekitar 1915. ...
War and propaganda become two inseparable aspects. When its occupation in Indonesia, Japan used various tool to influence and attract Indonesian’s attention. Mass media became the most accessible tool used by Japan to give the doctrines and propaganda, especially Djawa Baroe magazines. This paper aims to analyze how the Japanese use the media, especially Djawa Baroe magazine, produced in 1943 in Indonesia as a propaganda tool in doctrine and mobilize its dominated society through the discourse analysis approach. The research was conducted through three stages of analysis, in which the results of the analysis were analyzed profoundly through the view of critical discourse analysis. The result shows six-issues categories can be discussed from 250 articles in Djawa Baroe magazine. Japanese military powers; area security by Japan; education, training, and knowledge were given to society; Japan and “the older brother”; enemies; and, community testimony and response. As a result, propaganda, doctrine and the application of Japanese cultural influences can be seen in the style of language, the use of sentences and images displayed in the article. Doctrine given by the Japanese government includes various aspects such as threat and fear from the enemies and kindness and attention.
... World War I and the need for public support at different levels continued the phenomenon, and propaganda was in widespread use (Lazer et al., 2018). Pamphlets were used to circulate propaganda messages (Sanders, 1975), while early film propaganda was shown in British cinemas during World War I (Reeves, 1983). ...
With the emergence of fake news in the era of Internet 4.0, communication and management researchers have studied how fake news impacts different areas of everyday life. Notwithstanding the detailed depiction of fake news in the context of political communication, the implications and dissemination mechanisms of business-related fake news in particular in the digital space have not been fully investigated. Furthermore, there are no studies that offer a comprehensive approach for companies, organisations and brands to counter fake news in the digital environment. The purpose of this research is to offer new, applicable and innovative solutions to handle business-related crisis challenges caused by fake news in the digital space, through the development and examination of countering concepts based on the application of situational crisis communication theory (SCCT). A research gap was identified after a comprehensive review of 326 journal and conference articles relating to the term 'fake news'. Two novel concepts, the pentagram graph and the dynamic crisis communication model (DCCM) algorithm, are proposed and examined. The pentagram graph matches possible solutions and actions to combat and counter fake news with various actors involved in the generation and dissemination of fake news online. The DCCM algorithm, grounded in SCCT, offers an algorithmic view of possible organisational actions to counter fake-news-related crisis challenges at different stages of their evolution. Moreover, the effectiveness and impact of different response strategies to counter business-related fake news online were evaluated through the analysis of stock price changes during a crisis challenge. The novelty and complexity of the topic required a sequential mixed-methods exploratory design, using both qualitative and quantitative data. Through sequential multi-level sampling, an initial sample of 510 global companies was reduced to the final sample of 108 suitable fake-news-related cases. Interviews with senior managers from the companies included in the final quantitative sample were utilised to examine the practical applicability of SCCT and the theoretical concepts designed within this study to counter fake news in the digital space. I VII VI This research offers a historical overview of the channels used to spread fake news, enabling a full understanding of how fake news has evolved with the development of new channels. A comprehensive typology of fake news was developed, taking into consideration the nature of the news item, level of facticity, intention to deceive and motivational factors. From a business perspective, the findings from the research confirm
Film offers different trends, ideas and traditions. Overall, a film has great impact on public minds and can change their behavior towards a specific issue. Film has the power to create and shape ideas, customs, and styles of viewers on a range of various subjects Accordingly, the contents presented in films including good audio-visual elements can instill better influence on different communities across the globe. Thus, film can form and reform opinion of its publics. The basic objective of the study underhand is to observe the dominant belief among educated audience towards patriotism as learnt from patriotic films. The quantitative methodology was employed for this study and survey was used as a research technique. The Provincial Capital City of Lahore was selected as population of study with four leading universities of the City as Sample. Around 400 respondents both male and female students were selected based on convenient sampling and descriptive statistical analysis was made through SPSS for inferences. It was hypothesized that the views of the audience determine their feelings after watching patriotic films i.e., they are filled with pride, happiness, emotions, motivation and sensitive. The study further aimed to explain the phenomenal change in the behavior of the audiences of patriotic movies. The study explored that the audiences liked various elements presented in movies including music, songs, actions, direction, characterization, dialogue delivery of patriotic orientation etc. The findings of the study further explored that patriotic Urdu movies in Pakistan have a constructive and everlasting influence on viewers e.g., the audience feel entertained and motivated after watching such genre of movies. Most of the respondents believed the patriotic movies which have strong script, dialogues and direction attract the audience the most. The researchers believe that the study underhand may work as a contributing agent and open new horizons for future researchers in this phenomenon.
Cast-lead toy soldiers enjoyed widespread popularity in Western society during the late 19th and early 20th centuries. As such they present an excellent case study for an analysis of war through non-military narratives. This article examines a sample of sets and figures produced during the ‘golden age’ of toy soldiers, so as to ascertain how these artefacts related to military developments and what light they can shed on societal responses to conflict in this period. The figures and sets under discussion are drawn from the catalogues of the major British and German manufacturers of the period and are contextualized by the activities of the companies that produced them. This focus enables the article to compare and contrast various approaches to these artefacts and to conclude on how toy soldier production in this period became embroiled in the wider political and military conflict between the British and German empires.
Historians have long taken an interest in military recruitment advertising and public relations. Much of their attention, however, has been directed towards promotion in wartime, with a lot less known about how governments used media to attract civilians in peacetime or during the many so-called ‘limited wars’ of the post-war era. This article addresses this shortcoming by exploring three separate recruitment campaigns waged in Britain at different moments in the 20th century. Giving a sense of the scale of official recruiting work, it highlights the central role played by commercial advertising and public relations professionals in the planning and development of campaigns and investigates whether recruiters were actually successful in convincing civilians to join up. The evidence presented here suggests that they had a negligible effect on enrolment rates. Yet, it also indicates that different types of appeal were used to attract civilians in peacetime, with material rewards typically taking precedence over notions of patriotic duty. Suggesting that such appeals effectively commodified military service, this article concludes by reflecting on their broader legacy to studies of media, war and conflict.
The place of propaganda in a democratic society has been discussed long before the age of fake news, as the heated debate on this issue that took place in the UK and other democracies from around 1914 to 1950 clearly shows. Drawing upon a variety of published and archival sources, the article examines the changing views of British political elites, intellectuals, publicity experts and the public on the proper role of government in the public sphere, while discussing their influence on government policies and exploring the light they shed on British—and, more broadly, liberal democratic—culture and identity.
British film propaganda directed at neutral countries was meant to strengthen the pro-British attitude or at least weaken pro-German sentiments in the neutral countries. Directed at the wide strata of neutral societies as well as at intellectual, military and economic elites, factual films from the battle lines were believed not only to counteract German propaganda but also to overshadow hostile actions taken by British government against economic and political freedoms of the neutrals. This article is an attempt at understanding the reasons for the eventual failure of British film propaganda in the Netherlands. While mentioning various conflict areas between the countries, it focuses on cultural entanglements and cultural networks that developed, though precariously, throughout the war. The neglect of existing connections between British and Dutch filmmakers and the hesitant if not hostile attitude of War Office Cinematograph Committee towards expensive adaptations of literary works, and feature films in general, might be perceived, the article argues, as one of the core reasons, along political and economic tensions, why Britain lost the battle for Dutch cinema audiences.
This article offers a cross-national analysis of the historical reception of the American war film The Battle Cry of Peace (J. Stuart Blackton and Wilfred North/Vitagraph, 1915) in the neutral countries of the Netherlands and Switzerland during World War I. Treating propaganda as a mode de lecture, the authors demonstrate how a fiction film that was originally intended as preparedness propaganda picked up very diverse and often conflicting meanings in cinema cultures outside the United States. In the eyes of its audiences, the film could have been qualified as ‘entertainment’ or ‘propaganda’, ‘fiction’ or ‘fact’ at the same time. When comparing the Dutch and Swiss reception contexts in more detail, it becomes clear that The Battle Cry of Peace was a popular film in both countries. However, the film made a different impact on its audiences on a national level. German propaganda officials in Switzerland considered the anti-German tendencies of the film highly problematic. This was hardly the case in the Netherlands. While The Battle Cry of Peace confronted Swiss audiences with their linguistic and cultural divide, here, the meaning of the film was generally tied into a unifying neutrality discourse. In both cases, however, a fact often neglected by contemporary (film) historians, cinema can be understood as an important agent in the public debate about the war outside the warring countries, as was acknowledged by individuals and institutions at the time.
Propaganda has been an integral part of human history, and while the
documentation of conflict through film began in the middle of the nineteenth century, it
was not until the First World War that the production and distribution of war films as
propaganda became a mass phenomenon. Moving images of the war proliferated in all
Western countries at an unprecedented rate. This thesis explores the role of wartime
propaganda films in Britain, France, and Germany during the First World War by
assessing the achievements and missteps of cinematic variations on the 1916 Battle of
the Somme. Although these films achieved varying degrees of success as both
propaganda films and war documentaries, they failed to alter the fundamental opinion of
the masses. Rather, they strengthened and reinforced existing attitudes about the war.
More importantly, the films shaped the way people would remember both the battle and
the war in future generations.
While the Netherlands tried to maintain neutrality during World War I, the belligerent nations watched the country and its public opinion closely. At the same time, the French, English, and German authorities used propaganda to influence Dutch public opinion. The famous documentary film The Battle of the Somme (1916) is seen as a prime example. Its critical reception in the Netherlands has been studied before, but its challenge to the cause of neutrality has escaped close attention. Not only did Dutch ministers, mayors, film distributors, and cinema owners get involved in the marketing and regulation of war propaganda, but so did the intelligence services and propaganda departments of the warring countries. This article shows that at least three films about the battle of the Somme were shown in Dutch cinemas - French, English, and German - and that all of them were part of a struggle to secure the public's favour.
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