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The First World War was an unprecedented crisis, with communities and societies enduring the unimaginable hardships of a prolonged conflict on an industrial scale. In Belgium and France, the terrible capacity of modern weaponry destroyed the natural world and exposed previously held truths about military morale and tactics as falsehoods. Hundreds of thousands of soldiers suffered some of the worst conditions that combatants have ever faced. How did they survive? What did it mean to them? How did they perceive these events? Whilst the trenches of the Western Front have come to symbolise the futility and hopelessness of the Great War, Alex Mayhew shows that English infantrymen rarely interpreted their experiences in this way. They sought to survive, navigated the crises that confronted them, and crafted meaningful narratives about their service. Making Sense of the Great War reveals the mechanisms that allowed them to do so.
British Theatre and the Great War examines how theatre in its various forms adapted itself to the new conditions of 1914-1918. Contributors discuss the roles played by the theatre industry. They draw on a range of source materials to show the different kinds of theatrical provision and performance cultures in operation not only in London but across parts of Britain and also in Australia and at the Front. As well as recovering lost works and highlighting new areas for investigation (regional theatre, prison camp theatre, troop entertainment, the threat from film, suburban theatre) the book offers revisionist analysis of how the conflict and its challenges were represented on stage at the time and the controversies it provoked. The volume offers new models for exploring the topic in an accessible, jargon-free way, and it shows how theatrical entertainment of the time can be seen as the `missing link’ in the study of First World War writing.
A groundbreaking new history of the British home front during the First World War.
This book demonstrates how people were kept ignorant by censorship and indoctrinated by propaganda. Censorship suppressed all information that criticized the army and government, that might trouble the population or weaken its morale. Propaganda at home emphasized the superiority of the fatherland, explained setbacks by blaming scapegoats, vilified and ridiculed the enemy, warned of the disastrous consequences of defeat and extolled duty and sacrifice. The propaganda message also infiltrated entertainment and the visual arts. Abroad it aimed to demoralize enemy troops and stir up unrest among national minorities and other marginalized groups. The many illustrations and organograms provide a clear visual demonstration of Demm's argument.
The popular image of the British soldier in the First World War is of a passive victim, caught up in events beyond his control, and isolated from civilian society. This book offers a different vision of the soldier's experience of war. Using letters and official sources relating to Liverpool units, Helen McCartney shows how ordinary men were able to retain their civilian outlook and use it to influence their experience in the trenches. These citizen soldiers came to rely on local, civilian loyalties and strong links with home to bolster their morale, whilst their civilian backgrounds helped them challenge those in command if they felt they were being treated unfairly. The book examines the soldier not only in his military context but in terms of his social and cultural life. It will appeal to anyone wishing to understand how the British soldier thought and behaved during the First World War.