In 1918, Wilson's image as leader of the free world and the image of America as dispenser of democracy spread through Italy, filling an ideological void. Rossini sets the Italian-American political confrontation in the context of the countries' cultural perceptions of each other, different war experiences, and ideas about participatory democracy.

Winner of the Goldsmith Book Prize by the Harvard Shorenstein Center on Media, Politics and Public Policy Manipulating the Masses tells the story of the enduring threat to American democracy that arose out of World War I: the establishment of pervasive, systematic propaganda as an instrument of the state. During the Great War, the federal government exercised unprecedented power to shape the views and attitudes of American citizens. Its agent for this was the Committee on Public Information (CPI), established by President Woodrow Wilson one week after the United States entered the war in April 1917. Driven by its fiery chief, George Creel, the CPI reached every crevice of the nation, every day, and extended widely abroad. It established the first national newspaper, made prepackaged news a quotidian aspect of governing, and pioneered the concept of public diplomacy. It spread the Wilson administration’s messages through articles, cartoons, books, and advertisements in newspapers and magazines; through feature films and volunteer Four Minute Men who spoke during intermission; through posters plastered on buildings and along highways; and through pamphlets distributed by the millions. It enlisted the nation’s leading progressive journalists, advertising executives, and artists. It harnessed American universities and their professors to create propaganda and add legitimacy to its mission. Even as Creel insisted that the CPI was a conduit for reliable, fact-based information, the office regularly sanitized news, distorted facts, and played on emotions. Creel extolled transparency but established front organizations. Overseas, the CPI secretly subsidized news organs and bribed journalists. At home, it challenged the loyalty of those who occasionally questioned its tactics. Working closely with federal intelligence agencies eager to sniff out subversives and stifle dissent, the CPI was an accomplice to the Wilson administration’s trampling of civil liberties. Until now, the full story of the CPI has never been told. John Maxwell Hamilton consulted over 150 archival collections in the United States and Europe to write this revealing history, which shows the shortcuts to open, honest debate that even well-meaning propagandists take to bend others to their views. Every element of contemporary government propaganda has antecedents in the CPI. It is the ideal vehicle for understanding the rise of propaganda, its methods of operation, and the threat it poses to democracy.

When America began to emerge as a world power at the end of the nineteenth century, Italy was a young nation, recently unified. The technological advances brought about by electricity and the combustion engine were vastly speeding up the capacity of news, ideas, and artefacts to travel internationally. Furthermore, improved literacy and social reforms had produced an Italian working class with increased time, money, and education. At the turn of the century, if Italy's ruling elite continued the tradition of viewing Paris as a model of sophistication and good taste, millions of lowly-educated Italians began to dream of America, and many bought a transatlantic ticket to migrate there. By the 1920s, Italians were encountering America through Hollywood films and, thanks to illustrated magazines, they were mesmerised by the sight of Manhattan's futuristic skyline and by news of American lifestyle. The USA offered a model of modernity which flouted national borders and spoke to all. It could be snubbed, adored, or transformed for one's personal use, but it could not be ignored. Perversely, Italy was by then in the hands of a totalitarian dictatorship, Mussolini's Fascism. What were the effects of the nationalistic policies and campaigns aimed at protecting Italians from this supposedly pernicious foreign influence? What did Mussolini think of America? Why were jazz, American literature, and comics so popular, even as the USA became Italy's political enemy? America in Italian Culture provides a scholarly and captivating narrative of this epochal shift in Italian culture.

During the First World War, mass media achieved an enormous and continuously growing importance in all belligerent countries. Newspaper, illustrated magazines, comics, pamphlets, and instant books, fi ctional works, photography, and the new-born “theater of imagery”, the cinema, were crucial in order to create a heroic vision of the events, to mobilize and maintain the consensus on the war. But their role was pivotal also in creating the image of the war’s end and fi nally, together with a widespread, new literary genre, the war memoirs, to shape the collective memory of the confl ict for the next generations. Even before November 1918, the media raised high expectations for a multifaceted peace: a new global order, the beginning of a peaceful era, the occasion for a regenerating apocalypse. Likewise, in the following decades, particularly war literature and cinema were pivotal to reverse the icon of the Great War as an epic crusade and a glorious chapter of the national history and to create the hegemonic image of a senseless carnage. The Mediatization of War and Peace focalizes on the central role played by mass media in the tortuous transition to the post-war period as well as on the profound disenchantment generated by their prophesies.

This edited collection offers the first systematic account in English of Italy’s international position from Caporetto – a major turning-point in Italy’s participation in the First World War – to the end of the liberal regime in Italy in 1922. It shows that after the ‘Great War’, not only did Italy establish itself as a regional power but also achieved its post-unification ambition to be recognised, at least from a formal viewpoint, as a great power. This subject is addressed through multiple perspectives, covering Italy’s relations and mutual perceptions vis-à-vis the Allies, the vanquished nations, and the ‘New Europe’. Fourteen contributions by leading historians reappraise Italy’s role in the construction of the post-war international order, drawing on extensive multi-archival and multi-national research, combining for the first time documents from American, Austrian, British, French, German, Italian, Russian and former Yugoslav archives.

This third volume of the updated edition describes how the United States became a global power during the period from 1913 to 1945.

Since their first publication, the four volumes of The Cambridge History of American Foreign Relations have served as the definitive source for the topic, from the colonial period to the Cold War. This third volume of the updated edition describes how the United States became a global power - economically, culturally and militarily - during the period from 1913 to 1945, from the inception of Woodrow Wilson's presidency to the end of the Second World War. The author also discusses global transformations, from the period of the First World War through the 1920s when efforts were made to restore the world economy and to establish a new international order, followed by the disastrous years of depression and war during the 1930s, to the end of the Second World War. Throughout the book, themes of Americanisation of the world and the transformation of the United States provide the background for understanding the emergence of a trans-national world in the second half of the twentieth century.