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Offering comprehensive coverage for those examining Civil War propaganda, this volume provides a broad analysis of efforts by both Union and Confederate sides to influence public opinion of America's deadliest conflict. This illuminating reference work contains excerpts from roughly 100 individual pieces of propaganda generated during the American Civil War in the North and the South, as well as contextual analysis to assist readers in understanding its utility, importance, and effect. It includes written arguments, staged photographs, and political cartoons, all of which were used to advance one side's objectives while undermining the enemy's. This helps readers to understand the underlying arguments of each side as well as the willingness of each to distort the truth for political, military, or economic advantage. This book is organized chronologically, allowing readers to understand how propaganda developed and expanded throughout the war. It includes a chapter dedicated to each of the war years (1861-1865), an antebellum chapter, and a postwar chapter. Each document comprised in the volume includes an analysis of the significance and effectiveness of the piece and guides readers to examine it with a critical eye. The original source documents remain in their original verbiage, including common spelling errors and other interesting aspects of 19th-century communication.
Lawrence A. Kreiser, Jr.’s Marketing the Blue and Gray analyzes newspaper advertising during the American Civil War. Newspapers circulated widely between 1861 and 1865, and merchants took full advantage of this readership. They marketed everything from war bonds to biographies of military and political leaders; from patent medicines that promised to cure almost any battlefield wound to “secession cloaks” and “Fort Sumter” cockades. Union and Confederate advertisers pitched shopping as its own form of patriotism, one of the more enduring legacies of the nation’s largest and bloodiest war. However, unlike important-sounding headlines and editorials, advertisements have received only passing notice from historians. As the first full-length analysis of Union and Confederate newspaper advertising, Kreiser’s study sheds light on this often overlooked aspect of Civil War media. Kreiser argues that the marketing strategies of the time show how commercialization and patriotism became increasingly intertwined as Union and Confederate war aims evolved. Yankees and Rebels believed that buying decisions were an important expression of their civic pride, from “Union forever” groceries to “States Rights” sewing machines. He suggests that the notices helped to expand American democracy by allowing their diverse readership to participate in almost every aspect of the Civil War. As potential customers, free blacks and white women perused announcements for war-themed biographies, images, and other material wares that helped to define the meaning of the fighting. Advertisements also helped readers to become more savvy consumers and, ultimately, citizens, by offering them choices. White men and, in the Union after 1863, black men might volunteer for military service after reading a recruitment notice; or they might instead respond to the kind of notice for “draft insurance” that flooded newspapers after the Union and Confederate governments resorted to conscription to help fill the ranks. Marketing the Blue and Gray demonstrates how, through their sometimes-messy choices, advertising pages offered readers the opportunity to participate—or not—in the war effort.
During the Civil War, private printers in both the North and South produced a vast array of envelopes featuring iconography designed to promote each side's war effort. Many of these "covers" featured depictions of soldiers, prominent political leaders, Union or Confederate flags, Miss Liberty, Martha Washington, or even runaway slaves -- at least fifteen thousand pro-Union and two hundred fifty pro-Confederate designs appeared between 1861 and 1865. In Patriotic Envelopes of the Civil War, the first book-length analysis of these covers, Steven R. Boyd explores their imagery to understand what motivated soldiers and civilians to support a war far more protracted and destructive than anyone anticipated in 1861. Northern envelopes, Boyd shows, typically document the centrality of the preservation of the Union as the key issue that, if unsuccessful, would lead to the destruction of United States, its Constitution, and its way of life. Confederate covers, by contrast, usually illustrate a competing vision of an independent republic free of the "tyranny" of the United States. Each side's flags and presidents symbolize these two rival viewpoints. Images of presidents Davis and Lincoln, often portrayed as contestants in a boxing match, personalized the contest and served to rally citizens to the cause of southern independence or national preservation. In the course of depicting the events of the period, printers also revealed the impact of the war on females and African Americans. Some envelopes, for example, featured women on the home front engaging in a variety of patriotic tasks that would have been almost unthinkable before the war. African Americans, on the other hand, became far more visible in American popular culture, especially in the North, where Union printers showed them pursuing their own liberation from southern slavery. With more than 180 full-color illustrations, Patriotic Envelopes of the Civil War is a nuanced and fascinating examination of Civil War iconography that moves a previously overlooked source from the periphery of scholarly awareness into the ongoing analysis of America's greatest tragedy.
The pioneering work in the study of the role of Black Americans during Reconstruction by the most influential Black intellectual of his time. This pioneering work was the first full-length study of the role black Americans played in the crucial period after the Civil War, when the slaves had been freed and the attempt was made to reconstruct American society. Hailed at the time, Black Reconstruction in America 1860–1880 has justly been called a classic.
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.
Evaluation of the efforts of the U.S. Government to influence world opinion, based on the author's years of service with the U.S. Information Agency in the 1950's.
Visual Propaganda, Exhibitions, and the Spanish Civil War is a history of art during wartime that analyzes images in various media that circulated widely and were encountered daily by Spaniards on city walls, in print, and in exhibitions. Tangible elements of the nation?s past?monuments, cultural property, and art-historical icons?were displayed in temporary exhibitions and museums, as well as reproduced on posters and in print media, to rally the population, define national identity, and reinvent distant and recent history. Artists, political-party propagandists, and government administrators believed that images on the street, in print, and in exhibitions would create a community of viewers, brought together during the staging of public exhibitions to understand their own roles as Spaniards. This book draws on extensive archival research, brings to light unpublished documents, and examines visual propaganda, exhibitions, and texts unavailable in English. It engages with questions of national self-definition and historical memory at their intersections with the fine arts, visual culture, exhibition history, tourism, and propaganda during the Spanish Civil War and immediate post-war period, as well as contemporary responses to the contested legacy of the Spanish Civil War. It will be of interest to scholars in art history, visual and cultural history, history, and museum studies.
Published to coincide with the 150th anniverary of the battle of Gettysburg, features both familiar and rarely seen Civil War images from such photographers as George Barnard, Mathew Brady, and Timothy O'Sullivan.
A Pulitzer Prize-winning history of the mistreatment of black Americans. In this 'precise and eloquent work' - as described in its Pulitzer Prize citation - Douglas A. Blackmon brings to light one of the most shameful chapters in American history - an 'Age of Neoslavery' that thrived in the aftermath of the Civil War through the dawn of World War II. Using a vast record of original documents and personal narratives, Blackmon unearths the lost stories of slaves and their descendants who journeyed into freedom after the Emancipation Proclamation and then back into the shadow of involuntary servitude thereafter. By turns moving, sobering and shocking, this unprecedented account reveals these stories, the companies that profited the most from neoslavery, and the insidious legacy of racism that reverberates today.
Offering comprehensive coverage for those examining Civil War propaganda, this volume provides a broad analysis of efforts by both Union and Confederate sides to influence public opinion of America's deadliest conflict. This illuminating reference work contains excerpts from roughly 100 individual pieces of propaganda generated during the American Civil War in the North and the South, as well as contextual analysis to assist readers in understanding its utility, importance, and effect. It includes written arguments, staged photographs, and political cartoons, all of which were used to advance one side's objectives while undermining the enemy's. This helps readers to understand the underlying arguments of each side as well as the willingness of each to distort the truth for political, military, or economic advantage. This book is organized chronologically, allowing readers to understand how propaganda developed and expanded throughout the war. It includes a chapter dedicated to each of the war years (1861–1865), an antebellum chapter, and a postwar chapter. Each document comprised in the volume includes an analysis of the significance and effectiveness of the piece and guides readers to examine it with a critical eye. The original source documents remain in their original verbiage, including common spelling errors and other interesting aspects of 19th-century communication.