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In 1914, advertising was much less sophisticated that it is today, radio was in its infancy, television was undeveloped, telephones were just coming into use, the gargantuan party rallies of Hitler or Mussolini were still in the future, and the idea of using ocmmunications media to control the thoughts of an entire population was new, relatively unexplored, and not of interest to governments to any great extent. Propaganda was a part of life before 1914, and the term was coming into increasingly widespread usage. But other institutions of society, such as the church, the press, business, political parties, and philanthropy, were the major producers - not government.
A groundbreaking handbook that takes a cross-national approach to the media history of Europe of the past 100 years The Handbook of European Communication History is a definitive and authoritative handbook that fills a gap in the literature to provide a coherent and chronological history of mass media, public communication and journalism in Europe from 1900 to the late 20th century. With contributions from teams of scholars and members of the European Communication Research and Education Association, the Handbook explores media innovations, major changes and developments in the media systems that affected public communication, as well as societies and culture. The contributors also examine the general trends of communication history and review debates related to media development. To ensure a transnational approach to the topic, the majority of chapters are written not by a single author but by international teams formed around one or more lead authors. The Handbook goes beyond national perspectives and provides a basis for more cross-national treatments of historical developments in the field of mediated communication. Indeed, this important Handbook: Offers fresh insights on the development of media alongside key differences between countries, regions, or media systems over the past century Takes a fresh, cross-national approach to European media history Contains contributions from leading international scholars in this rapidly evolving area of study Explores the major innovations, key developments, differing trends, and the important debates concerning the media in the European setting Written for students and academics of communication and media studies as well as media professionals, The Handbook of European Communication History covers European media from 1900 with the emergence of the popular press to the professionalization of journalists and the first wave of multimedia with the advent of film and radio broadcasting through the rapid growth of the Internet and digital media since the late 20th century.
Political Censorship of the Arts and the Press in Nineteenth-Century Europe presents a comprehensive account of the attempts by authorities throughout Europe to stifle the growth of political opposition during the nineteenth-century by censoring newspapers, books, caricatures, plays, operas and film. Appeals for democracy and social reform were especially suspect to the authorities, so in Russia cookbooks which refered to 'free air' in ovens were censored as subversive, while in England in 1829 the censor struck from a play the remark that 'honest men at court don't take up much room'. While nineteenth-century European political censorship blocked the open circulation of much opposition writing and art, it never succeeded entirely in its aim since writers, artists and 'consumers' often evaded the censors by clandestine circulation of forbidden material and by the widely practised skill of 'reading between the lines'.
This is a major new contribution to the historiography of the First World War. It examines the lively battle of ideas which helped to destroy Austria-Hungary. It also assesses, for the first time, the weapon of 'front propaganda' as used by and against the Empire on the Italian and Eastern Fronts. Based on material in eight languages, the work challenges accepted views about Britain's primacy in the field of propaganda, while casting fresh light on the creation of Yugoslavia and the viability of the Habsburg Empire in its last years.
They expected the brave and Christian conquering heroes manufactured by the opinion-makers, rather than the combat-scarred, weary, and often embittered men who disembarked back in the Dominion. It took another decade of less-filtered information - ten years of pain and dislocation for returned veterans - before the Great War imagined by Canadian noncombatants began to resemble the war really experienced by Canadians overseas.
Mixing film history with social history, Reel Patriotism examines the role played by the American film industry during World War I and the effects of the industry’s pragmatic patriotism in the decade following the war. Looking at such films as Joan the Woman and Wings and at the war-time activities of Mary Pickford and Charlie Chaplin, film distributors, including George Kleine, and the National Association of the Motion Picture Industry, this book shows how heavily publicized gestures of patriotism benefited the reputation and profits of the movie business. Leslie Midkiff DeBauche shows how the United States government’s need to garner public support for the war, conserve food, raise money, and enlist soldiers was met by the film industry. Throughout the nineteen months of American involvement in World War I, film studios supported the war effort through the production of short instructional films, public speaking activities of movie stars, the civic forum provided by movie theaters, and the National Association of the Motion Picture Industry’s provision of administrative personnel to work directly with government agencies. While feature films about the war itself never dominated the release schedules of film distributors, they did become a staple film industry offering throughout the late 1910s and 1920s. The film industry had much to gain, DeBauche demonstrates, from working closely with the U.S. government. Though the war posed a direct challenge to the conduct of business as usual, the industry successfully weathered the war years. After the war, film producers, distributors, and exhibitors were able to capitalize on the good will of the movie-goer and the government that the industry’s war work created. It provided a buffer against national censorship when movie stars became embroiled in scandal, and it served as a selling point in the 1920s when major film companies began to trade their stock on Wall Street.
Kees van Dijk examines how in 1917 the atmosphere of optimism in the Netherlands Indies changed to one of unrest and dissatisfaction, and how after World War I the situation stabilized to resemble pre-war political and economic circumstances.
Imperial Germany's governing elite frequently sought to censor literature that threatened established political, social, religious, and moral norms in the name of public peace, order, and security. It claimed and exercised a prerogative to intervene in literary life that was broader than that of its Western neighbors, but still not broad enough to prevent the literary community from challenging and subverting many of the social norms the state was most determined to defend. This study is the first systematic analysis in any language of state censorship of literature and theater in imperial Germany (1871-1918). To assess the role that formal state controls played in German literary and political life during this period, it examines the intent, function, contested legal basis, institutions, and everyday operations of literary censorship as well as its effectiveness and its impact on authors, publishers, and theater directors.
This book examines the experiences of Americans in Europe during the First World War prior to the U.S. declaration of war, arguing that these experiences prepared the American public for the declaration of war and defined the threat and consequences of the European conflict for Americans and American interests at home and abroad.