![]() The use of patriotic imagery by voluntary organisations, charities, and commercial enterprises such as banks, publishers, filmmakers, entertainments and manufacturers of consumer goods reproduced and fed back into official campaigns. Together they promoted war aims, products, rallies, events, lectures, fund-raising exhibitions and benefit concerts in publicity campaigns. Designs appeared in various guises as posters, postcards, display advertisements, window cards, on billboards and hoardings, and in one-off large-scale installations and exhibitions. Many British designs were distributed throughout the Empire, for example, and in just over eighteen months America produced 20 million posters, more than all the other belligerents put together. Governments commissioned printing houses and advertising agencies to propagandise war aims and influence public opinion at home and abroad. Issued by a magazine, it is also a vital piece for the understanding of the production of visual propaganda because it signalled the incorporation of the rhetoric of government propaganda and public information with advertising and publicity. The single image and bold lettering addresses the viewer directly in a pattern repeated by poster designers in Germany, Russia, America and Italy. Allied rhetoric was more commercially and psychologically aware, focussed more closely on the positive representation of contemporary civilian and military social orders and was ultimately more effective in the manipulation of public opinion.Īlfred Leete’s (1882-1933) design for the poster ‘BRITONS’ featuring the lithographic portrait image of Horatio Herbert Kitchener (1850-1916) is possibly the best-known war poster of all time. ![]() The Central Powers were more sophisticated in terms of design philosophy but the graphic articulation of war aims. To varying degrees, war aims were also used to sell the war and the war was used to sell consumer products. The need to maintain morale at home and at the front and to generate interest in war savings, loans and bonds, salvage, war work, food and fuel conservation through propaganda campaigns was common to all belligerents. In addition, Pearl James’ (2009) edited collection of essays addresses many of the major issues such as gender, national identity and questions of modernity within a wider transnational visual cultural approach. Frantzen (2004), Celia Kingsbury (2010) and Gabriel Koureas (2007) have taken gendered approaches to analyzing the symbolism and mythology of the official rhetoric of war aims. Most histories of advertising tend to make short work of the 1914-1918 period and underestimate the political importance of the war for the advertising industry, government and the public. Vaughn (1980), Nicholas Hiley and Jim Aulich and John Hewitt (2007) have attempted to draw out the connections between government propaganda and the advertising industry or to investigate the wider discursive and rhetorical contexts of print media. However, few authors apart from Stephen L. Later studies such as Jeremy Aynsley’s (2000) excellent history of German graphic design take account of the issues residing in the structures of production and consumption of commercial art. These reports generally lacked a specific and detailed analysis of the role of the print media industry and the advertising trade. Large-scale propaganda efforts carried out by the belligerents were also documented in many firsthand accounts from participants in the war and by historians of propaganda. ![]() These early studies were important for the self-understanding of the graphic artist and the status of the commercial arts which was often positioned as a subcategory of art and in an international context. There are many studies focussing on the war poster beginning with those of Martin Hardie and Arthur K. ![]() The study of pictorial war publicity and propaganda in the print media has been largely restricted to authorial and stylistic histories of the poster and graphic design. ![]()
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