Credit: The National Archives. During the 20 months of the U. It also designed and circulated more than 1, patriotic advertisements. In addition, Creel distributed uncounted articles by famous authors who had agreed to write for free. At one point, newspapers were receiving six pounds of CPI material a day. Editors eager to avoid trouble with the Post Office and the Justice Department published reams of CPI material verbatim and often ran the patriotic ads for free.
Creel thought it savvier to try to befriend large ethnic groups than to attack them. But after two months, Creel and Wilson could see that popular enthusiasm for the war was nowhere near white-hot.
So on June 14, , Wilson used the occasion of Flag Day to paint a picture of American soldiers about to carry the Stars and Stripes into battle and die on fields soaked in blood. And for what? After Flag Day , the CPI continued to churn out positive news by the ton, but it also began plastering the country with lurid posters of ape-like German soldiers, some with bloody bayonets, others with bare-breasted young females in their clutches.
Thousands of self-appointed guardians of patriotism began to harass pacifists, socialists, and German immigrants who were not citizens. In response, German artist Walter Trier produced a map of the region at the outbreak of World War I, with each country similarly cast as a caricature. He depicts Germany and Austria-Hungary as heroic soldiers fending off surrounding nations, each represented by a negative stereotypical figure.
A percentage of the proceeds from sales of his map supported the Red Cross. November 10 , from the series Battles of August—November, , Color lithographs, sheet: 4 x 6 in. Leonard A.
Lauder Postcard Archive. Promised gift, Museum of Fine Arts, Boston. Thanks to their diminutive size, postcards were another ideal tool for circulating propaganda and publicizing wartime events.
Like Trier's poster, a series of postcards based on cartoons published in an English magazine uses caricature in comparing the opposing armies to a pair of "scientific wrestlers. The postcard issuer included an additional scene above : the November 10 Battle of Langemarck, represented as a knockout blow. Color lithograph, sheet: 6 x 4 in. The provisional government in place in Russia, which controlled the country following the abdication of Tsar Nicholas II and prior to the ascendance of the Bolsheviks in , established all-female combat units in an attempt to inspire war-weary male soldiers and demonstrate the Bolshevik model of equality among citizens.
Postcards featuring members of the women's battalions were paired with moralizing captions celebrating qualities such as bravery, unity, and good hygiene. Carl Otto Czeschka Austrian, — Color lithograph, sheet: 4 x 6 in. Other wartime postcards were considered objets d'art.
The Bahlsen cookie company issued the postcards for the German military postal service Feldpost , which provided complimentary mail service to soldiers. Their streamlined compositions and color palette also appealed to collectors with a taste for modernist design. Card No. Burdick Collection, Gift of Jefferson R.
Mass production and a new revolutionary culture that evolved out of the war keeps the legacy of our fight against Germany alive and kicking. We can look back on this period and see the rise and fall of American society and economy. Propaganda during war time created a community among Americans as they were solicited to support the war effort and defend the home front against Germany and the Central Powers. Not only did the economy grow, but Americans contributed to this growth.
How did this happen? A simple answer: propaganda. In times of war, propaganda was used to recruit not only soldiers, but Americas as well. Propaganda painted a image of the enemy in numerous ways, such as villains, robbers of American freedom, or a threat of American society among other themes. As these images of were plastered around the country, the message was clear: we need to defend the country against the Germans.
How was this accomplished? Buying war bonds. Americans, similar to World War II, were recruited through these posters to work in factories and buy bonds. As depicted in this poster,. The country was needed to avenge the helpless countrymen by supporting the war effort. Propaganda produced at this time was able to take the vision of the Hun and capitalize on American fears of attack.
In turn, government and agencies that produced propaganda turned these fears into a money making opportunity. The image of a dangerous Hun could easily be defeated if Americans bought war bonds. On the one hand, our fears were exposed.
Americans saw the dangers of the Germans and the threat they caused to American security and the home front. Government agencies that produced these posters and flyers played on the fear of Americans by showing what would happen if they did not buy bonds or support the war effort.
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