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Though often defined as having opposite aims, means, and effects, modernism and modern propaganda developed at the same time and influenced each other in surprising ways. The professional propagandist emerged as one kind of information specialist, the modernist writer as another. Britain was particularly important to this double history. By secretly hiring well-known writers and intellectuals to write for the government and by exploiting their control of new global information systems, the British in World War I invented a new template for the manipulation of information that remains with us to this day. Making a persuasive case for the importance of understanding modernism in the context of the history of modern propaganda, Modernism, Media, and Propaganda also helps explain the origins of today's highly propagandized world. Modernism, Media, and Propaganda integrates new archival research with fresh interpretations of British fiction and film to provide a comprehensive cultural history of the relationship between modernism and propaganda in Britain during the first half of the twentieth century. From works by Joseph Conrad to propaganda films by Alfred Hitchcock and Orson Welles, Mark Wollaeger traces the transition from literary to cinematic propaganda while offering compelling close readings of major fiction by Virginia Woolf, Ford Madox Ford, and James Joyce.

English fiction --- Modernism (Literature) --- Motion pictures in propaganda. --- Propaganda --- History and criticism. --- History --- Motion pictures in propaganda --- Moving-pictures in propaganda --- Propaganda in motion pictures --- Communication in politics --- Political psychology --- Social influence --- Advertising --- Persuasion (Psychology) --- Psychological warfare --- Public relations --- Publicity --- Social pressure --- History and criticism

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This book explores how Soviet film worked with time, the past, and memory. It looks at Stalinist cinema and its role in the production of history, the conversion of the present and experience into history, mechanisms of transfer, and what is located between history and the past. The representation of history is always the representation of power. The institution of legitimization and the mechanism for the production of identity, history is the past, constructed and served by the authorities who are attempting to curtail the experience by packaging it into a literary narrative and new visual im

Motion pictures --- Motion pictures and history. --- Motion pictures in propaganda --- Communism and motion pictures --- Communism and moving-pictures --- Motion pictures and communism --- Moving-pictures in propaganda --- Propaganda in motion pictures --- Propaganda --- History and motion pictures --- Moving-pictures and history --- History --- History.

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"This critical text examines the seventy-year history of comic book superheroes on film and in comic books and their reflections of the politics of their time. Superheroes addressed include Batman, Wonder Woman, Spider-Man, Superman, the Invisible Woman and the X-Men, and topics covered include American wars, conflicts, and public policy"--Provided by publisher.

Propaganda in de film --- Propaganda in motion pictures --- Propagandafilms --- Propagande dans le cinéma --- Superheroes. --- Comic books, strips, etc. --- Superhero films --- Propaganda in motion pictures. --- Motion pictures --- Superheroes --- Political aspects. --- Moral and ethical aspects. --- History and criticism. --- History --- Comic books, strips, etc --- Comic strip superhero films --- Comic strip superheroes films --- Superheroes films --- Fantasy films --- Science fiction films --- Comic book heroes --- Super heroes --- Fictitious characters --- Moving-pictures in propaganda --- Propaganda --- Comic strips --- Comics --- Funnies --- Manga (Comic books, strips, etc.) --- Manhua (Comic books, strips, etc.) --- Manhwa (Comic books, strips, etc.) --- Serial picture books --- Caricatures and cartoons --- Wit and humor, Pictorial --- Moral and ethical aspects --- Political aspects --- History and criticism --- United States --- 20th century --- Manhua (Comic books) --- Manhwa (Comic books) --- 82-931 --- 070.84 --- 741.5 --- 741.5 Spotprenten. Karikaturen. Cartoons. Striptekeningen. Satirische tekeningen --- Spotprenten. Karikaturen. Cartoons. Striptekeningen. Satirische tekeningen --- 070.84 Comics. Stripverhalen--(in de krant) --- Comics. Stripverhalen--(in de krant) --- 82-931 Stripverhaal --- Stripverhaal --- Drawing --- Thematology --- beeldverhalen

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"When the Bolsheviks seized power in the Soviet Union during 1917, they were suffering from a substantial political legitimacy deficit. Uneasy political foundations meant that they were always on the defensive and cinema became a key part of the strategy to protect the existence of the USSR. This welcome book shows how one of film's central functions was as an important means of convincing the masses that the regime was legitimate and a bearer of historical truth. Based on extensive research in archives and primary sources, the book examines the interaction between politics and the Soviet cinema industry during the period between Stalin's rise to power and the beginning of the Great Patriotic War. This was the era when the Bolsheviks were trying to develop a 'cinema for the millions', which sought to engage Soviet citizens politically by carefully blending entertainment with the communist message. Jamie Miller investigates how political and administrative decision-making, censorship, thematic planning and purges were shaped by the Bolsheviks' defensive outlook, which in turn had a largely negative impact on the production process. He examines the role of film unions and societies, compares the development of two different studios and looks at the education system for cinema personnel. He also analyses key films of the period, including the classic musical Circus, the class enemy drama The Party Card and the political epic The Great Citizen."--Page 4 of cover.

Motion pictures --- Motion pictures in propaganda --- Communism and motion pictures --- Political aspects --- History --- #SBIB:309H1313 --- Communism and moving-pictures --- Motion pictures and communism --- Moving-pictures in propaganda --- Propaganda in motion pictures --- historia --- Cinéma dans la propagande --- Communisme et cinéma --- Cinéma dans la propagande --- Communisme et cinéma --- Film --- Russia --- Cinéma --- Aspect politique --- Propaganda --- History. --- Geschiedenis en/of organisatie van het filmwezen: algemeen en per land (met inbegrip van de rol van het filmwezen in de ontwikkelingsproblematiek)

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Engaging with key films from the decade and a half between 1949 and '66, this book explores the aesthetic experiment of socialist cinema in China. In the years succeeding the Communist Revolution, the state produced a diversity of genres that functioned as propaganda for the newly established People's Republic. Breaking from past forms, revolutionary cinema adapted and revised Chinese literature for the screen, incorporated aspects of Hollywood narration and appropriated Soviet montage theory for its own means, as well as orchestrating a new, glamorous, socialist star culture. Chinese film periodicals were quick to project and disseminate the country's redefined self-image to both domestic and international domains as they helped to create an alternative vision of modernity and internationalism.

Motion pictures in propaganda --- Motion pictures --- History --- Political aspects. --- Political aspects --- China --- S04/0910 --- S04/0920 --- S06/0900 --- S17/0430 --- S17/2000 --- Moving-pictures in propaganda --- Propaganda in motion pictures --- Propaganda --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- China: History--PRC: 1949 - 1958 --- China: History--PRC: 1958 - 1966 --- China: Politics and government--Political propaganda --- China: Art and archaeology--Esthetics --- China: Art and archaeology--Film --- History and criticism