![]() In the fifth section, selected propaganda targets are studied: the soldiers on both sides of the trenches and the enemy’s minorities. Theatre 1914-1918” and therefore with a few exceptions omitted. Indoctrination through entertainment is outlined in Roger Smither’s “ Film/Cinema” as well as Eva Krivanec’s “ Staging War. Section 4 analyses how propaganda reached its targets, and which logistical problems occurred in its distribution abroad. In Russia at least, religious propaganda demanded “Constantinople and the Bosphorus, the cradle of our faith”. Italy was an exceptional case since it proclaimed a war of conquest and took up the myth of defence only after the defeat at Caporetto. Two principal themes recur throughout the argumentation: first, that victory will be certain and second, that the war is fought in order to defend the fatherland against an unprovoked attack. This author distinguishes between the adversarial type, that is propaganda against the enemies at home and abroad the duty message fusing civic and sacrificial patriotism with the concrescent community the proprietal and supranational branch, evoking the ideologies of the belligerent nations and the aspirational type promising future rewards and benefits. The third section discusses the principal arguments of propaganda in an adaptation of David Monger’s categories of patriotism. It omits the propaganda organisations and the role of the propagandists because they are summarized in Stephen Badsey’s article “ Propaganda: Media in War Politics” and in the regional thematic articles on propaganda. My survey starts with a short summary of the fundamental aims of propaganda. ![]() “ The ultimate purpose of this war is propaganda, the destruction of certain beliefs and the creation of others.” (H.G.
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