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Propaganda Film: British Dominion
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Government campaigns and propaganda - Official Government films make up the majority of the Imperial War Museum Film and Video Archive collection of edited film from the Second World War. Much of this material originates from the Ministry of Information (MOI) during the Second World War and the Central Office of Information (COI) in the post-war period. The Ministry of Information made and commissioned documentary films, training and information films, as well as some dramatised and animation films. The archive ... holds files on many of these films which include related documentation such as scripts, music sheets and correspondence. British propaganda and information films from the First and Second World Wars cover a huge variety of subjects ranging from covering issues of military conflict as well as propaganda aimed at social development. Such films include items on explaining the rationing system, encouraging good nutrition, advocating the cultivation of land for the war effort, dealing with evacuation, warning against the folly of 'loose talk', films stressing the importance of the British way of life, and films aimed at generating contempt for the enemy.
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Part 1 of 4 of the Documentary “Animated Soviet Propaganda” From 1924 to perestroika the USSR produced more than 4 dozen animated propaganda films. They weren’t for export. Their target was the new nation and their goal was to win over the hearts and minds of the Soviet people. Anti-American, Anti-British, Anti-German, Anti-Capitalist, Anti-Fascist, some of these films are as artistically beautiful as the great political posters made after the 1917 revolution which inspired Soviet animation. A unique series. With a unique perspective.
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By only considering the role of official war films, all of them of a documentary nature, Reeves limits his study to only a part of the total cinematic propaganda effort. However, many war dramas ... were produced, and while they were made by private rather than Government filmmakers, they also played an important part in serving the Government's propaganda needs. Many British war dramas were imported and screened in Australia, as were American war pictures from 1917. No study has been done regarding the role of these dramas in the propaganda war of their countries of origin, perhaps because of the large numbers of war films, especially from the USA, and the more complex relationships between the film industries and the governments. Yet in the smaller Australian context at least, a number of privately-initiated war dramas were made with considerable Government involvement, and were openly promoted as war propaganda.
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The apparent Anglo-American unity portrayed in the 1944 World War II propaganda film "Tunisian Victory" belies the conflicts that occurred during the attempted joint production. The UK and the US had established ties between their individual propaganda film units to co-produce films, but the British and the Americans did not appreciate one another's film styles. US director Frank Capra became involved in the project, and his style won out in the finished product.
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Among noted commentators on Nazi propaganda films, only Richard Taylor, David Welch, and most recently Klaus Kanzog have dealt with Ohm Kruger in any detail. Taylor offers a general commentary on the major scenes (207-15), and Welch, in a more substantive discussion, focuses on the film's anti-British theme in the general context of Nazi representations of the enemy (271-80). Kanzog offers a wealth of information about the background of the film and its reception, summarizes the plot, and mentions a few of the differences between the film and the literary material on which it is based (253-65). In this paper I offer a more comprehensive analysis of Ohm Kruger as an example of Nazi propaganda with special reference to its major themes and the composition of its screenplay, which sheds light on how propaganda was often presented in the form of a feature film.
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The high point of Australia's dramatic propaganda films came with the release of John Gavin's hastily-produced The martyrdom of Nurse Cavell on 31 January 1916. Playing on the popular outrage over the execution of the nurse who had helped British soldiers escape, the film was an enormous hit. It played loose with the facts, the middle-aged Cavell of history transforming into a romantically young and beautiful nurse, while the eighteen-stone Gavin, playing a German officer, was the very personification of the caricatured villainous Hun. With its theme of German atrocities against innocent women, it was the embodiment of the most extreme British propaganda.
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British Dominion