The Second World War challenged the well-established circulation of cultural practices between France and Britain. But it also gave individuals, communities, states, and aspiring governments opportunities to invent new forms of international cultural promotion that straddled the national boundaries that the war had disrupted. Although London became the capital city of the main external Resistance movement Free France, the latter struggled to establish its cultural agenda in Britain, owing, on the one hand, to the British Council’s control over French cultural policies and, on the other hand, to the activities of anti-Gaullist Resistance fighters based in London who ascribed different purposes to French arts. While the British Council and a few French individuals worked towards prolonging French cultural policies that had been in place since the interwar period, Free French promoted rather conservative and traditional images of France so as to reclaim French culture in the name of the Resistance.
French Cultural Policies in Britain during the Second World War
An Auxiliary Nurse’s Memories of World War I
compiler” and the capturing of “the memory of the cultural moment in which they were made.” 27 A complex interaction between Clarke’s memorializing and her repurposing of commercial souvenirs, propaganda, and press coverage makes interpreting them a
Ill-Fated Beneficiaries of Texaco's "Glorious Gamble"
Marilyn J. Matelski
Almost fifty years have passed since Texaco proclaimed its “glorious gamble” to extract oil from the Amazon. And while more than two decades have elapsed since the drilling finally ceased, at least four generations (referred to here as “Generations 10W40,” by the author) have suffered many deleterious effects, resulting from countless acts of irresponsible, pollution-generating corporate/governmental behavior. Lawsuits have abounded in both the United States and Ecuador over this calamity, and attorneys continue to fight over which accused party is most culpable—Texaco (now Chevron Texaco), Petro Ecuador and/or the Ecuadorian government. Regardless of who is most responsible, however, the fact remains that innocent people continue to be victimized. Another undeniable fact is the long history of Chevron Texaco’s expensive, forceful and unrelenting publicity campaign to win popular support outside the courtroom through propagandistic mass media appeals. This essay analyzes this long-term “crusade” within a framework of seven specific devices—name-calling, bandwagon, glittering generalities, transfer, testimonial, plain folks and card stacking—applied to the company’s corporate communication strategy, and occurring throughout its preliminary oil exploration, the oil drilling years and the toxic aftermath of the venture.
*The full text version of this article is in French
Historians generally consider resistance in Europe as a national phenomenon. This vision is certainly accurate, but forgets one important datum: the Allies have played a decisive part in European resistance, by recognizing (or not) governments in exile, by authorizing (or not) the free access to the BBC, and by using their secret services (mainly the Special Operations Executive, SOE, and the Office of Strategic Services, OSS). This article tries to show how this action has shaped resistance in Western Europe, and given to the Anglo-Americans a leading part in clandestine action—even if national powers, in one way or another, have resisted this hegemony.
La résistance en Europe a le plus souvent été considérée comme un combat national, tant par les hommes et les femmes qui y ont participé que par les historiens qui ont, par la suite, tenté de l’analyser. Sans contester ce schéma, il convient sans doute de l’enrichir, en admettant que l’intervention des Britanniques, puis des Américains, a contribué à européaniser la résistance. En la pliant à un modèle organisationnel unique tout d’abord ; en imposant des structures de commandement et une stratégie identiques ensuite ; en légitimant les pouvoirs en exil enfin. Ces interventions ont au total amené à une homogénéisation de l’armée des ombres sur le Vieux Continent, sans que les résistances nationales n’aliènent, pour autant, leur identité propre.
The Free City of Danzig and the Sovereignty Question
Elizabeth M. Clark
to issue publications for consumption by the general public, on Danzig territory itself. The c.a. 1927 pamphlet Wer Kennt Danzig ?/ How to see Danzig , published by Werner-Rades Hessenlanddruck Stettin, functioned as both propaganda and tourist
present day. 3 The avalanche of ruin photography in the archives, albums, publications, and propaganda of World War I France challenges us to understand what functions such images fulfilled beyond their use as visual records. Did wartime images of
A Movie Ban and the Dilemmas of 1920s German Propaganda against French Colonial Troops
In the early 1920s, Germany orchestrated an international propaganda campaign against colonial French troops stationed in the Rhineland that used the racist epithet “black horror on the Rhine,” and focused on claims of widespread sexual violence against innocent Rhenish maidens by African French soldiers, in order to discredit the Versailles Treaty. I argue that black horror propaganda fused elements of Allied propaganda—especially images of the barbaric “Hun”—with Germany's own wartime propaganda against colonial Allied troops. I use the significant film against colonial soldiers, Die schwarze Schmach (The Black Shame, 1921), to highlight the tensions and pitfalls of the German propagandistic strategy. As the debates over the film illustrate, black horror propaganda often had the effect of reminding audiences of German war crimes rather than diverting attention away from them. The ultimate ban of Die schwarze Schmach demonstrates the complex political nature of the 1920s backlash against atrocity propaganda.
The Popular Front Francisco Villa’s Media Diffusion Articulation of Political Subjectivities among Workers
Edgar Everardo Guerra Blanco
This article draws on social systems theory to explore a key phenomenon in social movements: organizations. The Frente Popular Francisco Villa (PFFV)—an organization related to the Urban Popular Movement in Mexico—is used as a case study. The research focuses on the internal dynamics that have steered this organization and propelled internal changes in some of its key aspects, especially media diffusion and propaganda strategy. Indeed, the media strategy employed by the organization have changed during the 30-yearhistory of the PFFV, not only on the basis of the programmatic goals and objectives of the organization, but also as a consequence of internal and external dynamics beyond the control of members and leaders. The main objectives of this analysis are threefold. First, I intend to uncover the main processes and structures that regulate the PFFV´s internal dynamic and changes over time. Second, I aim to analyze the relationships between these changes and the requirements of several organizations and actors in the environment of the PFFV. Finally, I aim to explore the impact of broader processes (such as the political system or the culture) on the organization's internal changes.
The Case of the Hungarian Student Network in 2012–2013
Bálint Takács, Sára Bigazzi, Ferenc Arató and Sára Serdült
, La psychoanalyse, son image et son public , explored how different sources of media communicate according to their position and worldview, giving rise to different forms of knowledge organization. Diffusion, propagation, and propaganda were
A Case Study in the Export of Third-Reich Film Propaganda
Roel Vande Winkel
The Nazi propaganda film Ohm Krüger (Uncle Krüger, 1941) utilized former South African statesman Paul Kruger and his role in the Boer War to promote a virulently anti-British message. By analyzing the international career of Ohm Krüger, this article reassesses the propaganda value traditionally ascribed to the film in an attempt to encourage further research on the exportation of Third-Reich cinema. The parallels between the British invasion and occupation of Boer land, as represented in the film, and the Nazis' invasion and occupation of European countries were so striking that Ohm Krüger was exported almost exclusively to nations allied with Germany while being withheld from occupied territories. The one notable exception was France, which had a long tradition of anti-British sentiment.