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OWI worked with film studios, screenwriters, radio stations, newspapers, cartoonists, and artists across the United States to produce films, posters, songs, and radio broadcasts urging everyday Americans to cooperate with the government’s wartime programs and restrictions. The Office of War Information (OWI) was the main arbiter of this relationship. President Franklin Delano Roosevelt’s administration recognized the powerful influence of the entertainment industry early on and looked for ways to harness that energy to encourage public support for the war effort. In 1943, the Council launched its Armed Services Edition line of reprints of popular books and ultimately sold over 122 million copies to the military at an average cost of about six cents apiece. The organization promoted books that would be useful “weapons in the war of ideas” and arranged sales of suitable books to libraries and the armed forces.
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Writers and publishers got in on the action as well by forming the Council on Books in Wartime.
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By the end of the war, the organization had put on 7,700 events featuring 4,147 stars, 38 film shorts, and 390 broadcasts for war relief and charity.
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The Hollywood Victory Committee organized appearances by stage, screen, television, and radio personalities at events promoting war bond sales, scrap collection, and military recruitment, plus shows to boost troop morale. Hollywood’s War Activities Committee, for example, helped smooth the way for cooperation between the federal government, major film studios, and thousands of theaters across the United States. Soon after Pearl Harbor, several organizations sprang up voluntarily to help the entertainment industry do exactly that. It was one thing to produce material about the war, but many of them also wanted to use their skills to actually help the Allies win. A few comics like Bill Mauldin’s Willie and Joe were created specifically because of the war and offered readers a unique glimpse into the daily lives of American GIs.įor many wartime writers, actors, and artists, these contributions weren’t enough. Longtime favorite characters like Superman, Dick Tracy, Little Orphan Annie, and Mickey Mouse all dealt with various aspects of the war effort, from raising victory gardens to dealing with rationing to fighting the Axis powers on the front. Even newspaper comic strips picked up elements of the war in their plots. Others, like Walter Kent and Nat Burton’s “The White Cliffs of Dover,” were slower and more solemn, touching on both the seriousness of the war and the hope that peace would soon return. Some songs were upbeat, witty, and fun to dance to, like “Boogie Woogie Bugle Boy of Company B” by the Andrews Sisters. Song lyrics often referred to the conflict, highlighting the ups and downs of both the battlefield and the Home Front. Movies like Saboteur, Sahara, and Casablanca captured the wartime drama faced by servicemembers and civilians alike. “The dangers of Nazism must be removed for all time.”Īfter Pearl Harbor, war themes exploded into virtually every artistic medium and form of entertainment. Robinson told one interviewer after the film’s premiere. “I feel I am serving my country,” lead actor Edward G.
Making history the second world war grossdeutchland movie#
Others praised the movie as patriotic because it helped alert Americans to what was considered a very real danger. Some people worried that the movie was too political and risked damaging the fragile neutrality of the United States in Europe. In 1939, for example, Warner Brothers released the movie Confessions of a Nazi Spy based on actual FBI investigations into German espionage in the United States. These stories reflected the growing anxiety in America about the war and how it might affect their lives. Authors John Steinbeck and Ernest Hemingway and playwright Maxwell Anderson each wrote fictional portrayals of wartorn Europe, while Hollywood turned out movies about risky trips across the submarine-infested Atlantic, daring attempts to rescue loved ones from Nazi concentration camps, and nefarious spy rings lurking right under America’s nose. The prospect of another world war began creeping into the American imagination even before the attack on Pearl Harbor.