uring World War II, American mass communications helped create and intensify the most jingoistic, ethnocentric, and ideologically unified public opinion in the history of this country.
During this anomaly in American ideological diversity, through print and radio news, public service announcements, entertainment and consumer advertising, Americans were exposed to a steady diet of U.S. war propaganda -- exquisitely-crafted, persuasive messages designed to raise spirits, engender national pride and foster understanding of our reasons for going to war and of America’s inevitable victory. When workers poured out of their around-the-clock shifts at defense plants and other war-essential industries, or when Mr. and Mrs. America simply craved escapist diversion, they visited their local movie theaters, the "television" of their age (Sklar, 250). In these Bijous, Rialtos and Strands, audiences sat back in the dark and absorbed idealistic, enthusiastic pro-American, anti-Axis messages presented in the form of cartoons, newsreels, and feature films.
This investigation concerns itself with one small aspect of this deluge of war propaganda: the characterizations of the enemy presented to Americans in the feature-length war films Hollywood produced between 1941 and 1946. It will describe how the film industry, at times both cooperating with and defying the wishes of the Roosevelt administration, treated each Axis member differently, portraying the Italians with the least severity, the Germans with considerably more venom, and reserving its most vicious attacks for the Japanese (Morella, 59-60). | Note on propaganda |
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