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.

Ross discusses how the British organized a massive, covert propaganda apparatus with the goal of dragging America into the Great War of 1914-1918 on the side of the Allies.

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.

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.

A classic book on propaganda technique proposes a general theory of the strategy and tactics of propaganda. This classic book on propaganda technique focuses on American, British, French, and German experience in World War I. The book sets forth a simple classification of various psychological materials used to produce certain specific results and proposes a general theory of strategy and tactics for the manipulation of these materials. In an introduction (coauthored by Jackson A. Giddens) written for this edition, Harold Lasswell notes that this study was partially an exercise in the discovery of appropriate theory. It raised the crucial questions of how to classify the content of propaganda—for instance, a distinction is made between "value demands" (war aims, war guilt, and casting the enemy as evil personified) and "expectations" (the illusion of victory)—and how to summarize the procedures employed in organizing and carrying out propaganda operations. Propaganda Technique in World War I deals primarily with problems of internal administration and lateral coordination rather than with the relationship between policymakers and propagandists. However, Jackson Giddens enumerates procedures in the book that illustrate an underlying assumption that decision makers were deeply involved in propaganda and influenced by considerations of public opinion. He takes the study of propaganda further by elaborating on the nature and meaning of the category of "war aims" and its relation to the propagandist, for this, more than any other category of content, "is the catalyst of transnational political action." Giddens's exploration of the development of a comprehensive theory of propaganda adds another dimension to Lasswell's study while confirming its value as outstanding groundwork for continuing research.

"Drawing on primary materials from the League of Nations to the Rome Statute of the International Criminal Court, this book makes the case for the revitalization ofa provision of international law which can be fundamental to the prevention of war.

The little-explored story of how politics, propaganda, and profits were combined to create the drama, imagery and fantasy that was American film during World War II. 32 black-and-white photographs.