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Propaganda vs. Art, 2004.
Addresses the questions in the debate about propaganda vs. art of whether the artist can be separated from the art he or she produces and to what extent the artist is complicit in the use of their artwork for propaganda purposes.
2,458 words (approx. 9.8 pages), 19 sources, MLA, $ 74.95
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Abstract
This paper argues that, while separating the art from the artist in an analysis of his work is generally a healthy practice, we should question to what extent we should make this separation and why some artists are allowed more leeway than others. The paper also attempts to answer the question, concerning propaganda versus art, about how much we can hold the artist responsible for the use and application of his art for other, possibly nefarious, purposes. The author of the paper argues that the answer lies in intentionality through an understanding of the intent of the artist in the production of the work of art. The paper uses artist Leni Riefenstahl and her work to illustrate the complexity and importance of addressing these questions.
From the Paper
"In debating the difference between art and propaganda one may enter into a minefield of contentious terms and complex ethical issues. The central concern that will be the focus of this paper is the intentionality of art in determining whether it is propaganda or art. If an artist is aware of and complicit in the manufacture and production of art for a specific political agenda, especially one that has been universally condemned, then he or she may be seen to be a propagandist rather than an artist. It is this qualitative and intrinsic difference in the artist and not in the use made of the art that is the central concern. Therefore, the criteria that will be used to ascertain the difference between art and propaganda is the underlying intention of the artist."
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Art as Propaganda, 2008.
This paper discusses the use of art in politics within the American society.
2,938 words (approx. 11.8 pages), 8 sources, MLA, $ 86.95
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Abstract
In this article, the writer discusses that art and politics often go hand in hand, though usually artists seek to expose the hypocrisy of ruling elites and so produce art that deliberately fails to meet with the approval of the leaders. The writer notes that at times, governments make use of art and artists for propaganda purposes, a process known from the various posters used by the Nazis and the Communists to promote their ideas. The American government has made use of art in a similar way, including art that otherwise would not find official approval. The writer concludes that the history of the way art has been used by the government suggests that the art itself is viewed in terms of its usefulness more than its actual content or any aesthetic base it may have, and primarily modern art has been used to counter the more staid and more politicized art in support of enemy ideologies.
Outline:
Introduction
Modern Art
Art and Politics
Art and American Taste
Art and Ideology
Conclusion
From the Paper
"The modern art movement diverged from the more accepted representational art preferred by most political leaders, and even though much modern art was considered too opaque to be understood and in some ways decadent, it was embraced as a propaganda tool by the U.S. government through agencies such as the CIA during the Cold War period. Most Americans are unaware of the way this process was undertaken and used and might be surprised by it, given the more prosaic attitude taken toward art by political leaders to this day. Analysts point out that many of these programs were conducted quite openly just the same, though even observers aware of the program might wonder why modern art was chosen and how it was used to benefit American interests."
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Propaganda Artist James Montgomery Flagg, 2002.
This paper examines the work of American artist James Montgomery Flagg.
2,400 words (approx. 9.6 pages), 14 sources, $ 89.95
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Abstract
This paper examines the work of American artist James Montgomery Flagg, and also focuses upon how the use of visual propaganda helped to fuel the First and Second World Wars on both sides. Interpretations of propaganda art as noted in the work of recognized art historians and critics is also included in the discussion.
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National Socialist Art and Architecture, 2007.
A look at how the National Socialists in Nazi Germany used art and architecture for political purposes.
2,382 words (approx. 9.5 pages), 10 sources, MLA, $ 73.95
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Abstract
This paper examines how, forming part of the propaganda machine, art and architecture were used largely for the glorification of the Nazi regime and the Aryan race and for the denunciation of Judaism, Bolshevism and what the Nazis thought of as "degeneracy." The paper looks at how, by enforcing changes in the art world and through the use of "new German" architecture, the Nazis sought to cleanse the fatherland of "degenerate art", which was seen as detrimental to the Volk, and to ensure the National Socialist movement's immortality through buildings that would survive to inspire future generations of the thousand year Reich.
From the Paper
"Art held a place of high value in National Socialist ideology. Hitler who was an artist turned politician inspite of himself had said "art is the only truly enduring investment of human labour." Hitler linked artistic styles with race, claiming that the Weimar period's "degenerate art" was a result of "racial decline." The Fuhrer also linked art with politics saying "art has at all times been the expression of an ideological and religious experience and at the same time the expression of political will." According to Nazi ideology, only Aryans were the true bearers of culture, therefore only they could produce true art. The modern styles such as Cubism, Dadaism and Expressionism, which had flourished during the Weimar period were a result of "cultural Bolshevism" and influenced by the Jews. "
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Art in Axis Countries, 2005.
Describes the differences between pre-War and post-War Axis art.
1,330 words (approx. 5.3 pages), 3 sources, APA, $ 44.95
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Abstract
This paper explains that art in pre-War and post-War European Axis countries, in particular Germany, was diametrically different. These differences were largely a result of societal conditions. The paper also explains that pre-War art primarily took the form of propaganda and craft but that after the war, with the exception of Russian art, the art of the Axis countries changed as a result of the influence exerted over them by the west and their own desire to rejoin the brotherhood of nations.
From the Paper
"The figures in the art, whether supposedly gallery art or poster-propaganda art, were supposed to be admirable 'native' figures of whichever nation was producing the art. The style was supposed to relate, also, to previous artworks, although, "In Soviet Russia, however, the whole notion of the 'aesthetic' was rejected as a bourgeois anachronism and was gradually replaced by the evolving theoretical criteria of Socialist Realism." Images of these works come readily to the mind's eye; almost cartoon like, oversized, over muscled figures in plain clothing operating large machines, for instance. "Triumphant was the Holy Trinity of peasant, worker and warrior. And from the very summit of this blasphemous altarpiece shone down the spirit from which all power was derived: the quasi-divine presence of the Leader himself" (Elliott, 1995), at least in Germany."
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National Socialist Propaganda: Role and Nature, 2007.
An examination of the role and nature of Nazi propaganda.
1,008 words (approx. 4.0 pages), 8 sources, MLA, $ 35.95
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Abstract
This paper examines the outlook and the function of the propaganda of the Nazi regime. It explains that the propaganda came in the form of movies, radio, newspaper articles and advertisements, mass rallies and books and infiltrated all aspects of German life. The paper looks at how the Nazi propaganda's saturation of German life and the very nature in which propaganda should be used, set out by Hitler and Reichsminister Dr. Joseph Goebbels, were essential to the regime's popularity, the obedience of its people and the building of its psychological and physical strength and population numbers. The paper also notes that propaganda continued to be used by the National Socialists as a manipulator of the people even after they had gained power and that the focus shifted from politics to the demonization of the Jews and the mentally ill, and to the promotion of the Volksgemeinschaft. The paper further discusses how poster art was one of many suitable mediums for conveying these messages. In conclusion the paper shows that National Socialist propaganda takes its place in history as one of the most powerful and successful operations the world has ever known; a programme that indoctrinated a nation and seduced it into pursuing an ideological fantasy, which eventually resulted in catastrophe.
From the Paper
"One such example of Nazi poster propaganda is the announcement of the "Third Reich's Day of the Farmer of 1935". The farmer, who had always held a place of high esteem in Nazi ideology, is portrayed as a strong, tall, idealised Aryan. He stands upright with his sleeves rolled up as if ready to work or take on some tremendous task. He appears brave, strong and physically idealised and a perfect example of a good German and Aryan man. The National Socialists had recognised that the farmer was the "fount of national health and future German greatness", and with this poster the Propaganda Ministry aims to create awareness of the value of the farmer and his physical and "Volkish" qualities in that he is putting the concern for the greater Volk above himself by farming. Not only is the poster a piece of propaganda, but the event that it advertises is also a propaganda act, held to "strengthen National Socialist values"."
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The Price of Art, 2005.
Examines several factors which determine the price of art in contemporary society.
2,178 words (approx. 8.7 pages), 3 sources, APA, $ 67.95
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Abstract
There are almost as many ways to argue that the price of a work of art does not necessarily reflect its aesthetic value, as there are artists and buyers, market forces and market constraints. Having said that, however, the paper shows that there are also significant and variable forces determining the prices of art; a short listing of just some of these and their probable effects in this paper make it clear that there can almost never, in fact, be a perfect marriage between a work of art and its price.
Paper Outline:
Introduction
The Arab Factor
The Propaganda Factor
Post-, post-, post -modernism and the Price Point
Two Paths to Price/Aesthetic Disparity
Conclusion
Works Cited
From the Paper
"Whether the government was attempting to prevent the item from leaving the country, the entire event-from the Sheikh's purchase and subsequent hoarding, to the government's art/antiquities market manipulation via legalistic means, at best, certainly would indicate that the price of this object, at least, can have little to do with its aesthetic value, but speaks more to national pride and pride of ownership. (One has not even considered either the ethics of the government in seeking to use its power in the art/antiquities market in this way, or of the Sheikh for using his own trump card-the ability to warehouse such pricey objects with no discernible harm to him.)"
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Politics and Art, 2007.
This paper examines the relationship between art and politics, with a focus on the era of the Russian Revolution.
1,074 words (approx. 4.3 pages), 5 sources, MLA, $ 37.95
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Abstract
The paper discusses how politics have had an impact on art and how artists have impacted political structure. The paper shows how, especially during times of unrest, art becomes a political message as a motivational or propaganda tool. The paper looks at the decades prior to and immediately after the Russian Revolution and examines the beliefs and impact of artists such as Ivan Kramskoy, Ilia Repin and Lazar "El" Lissitzky.
From the Paper
"Artists such as Ivan Kramskoy, for example, were involved with the ideological structure that represented Russian realism in the 1860s, a decade of reform and renovation. This liberal stage of the movement, reflecting the intelligentsia's efforts to free individual thought and public activity from bureaucratic controls, lasted through the mid-1880s. Artists, with their decidedly inferior status in society's estimation
and their own, were overwhelmed with the importunate demands of the radicals that they ceased being quiet supporters of the state and decided to contribute their share to political reform."
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American Propaganda during World War II, 2005.
A discussion of American propaganda policies during World War II, in particular against Nazi Germany.
2,935 words (approx. 11.7 pages), 8 sources, APA, $ 86.95
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Abstract
This paper explores the tactics and tribulations that American propaganda employed and faced during World War II against the Nazis. Comparisons are given at the beginning of the paper with just how effective the Nazi propaganda machine was in destroying a nation's morale before military action and how this clearly weighed on the minds of American political leaders at the time. Quotes and excerpts are given throughout the paper from declassified documents from the OSS and OWI, all lending credence to the idea that America's first priority in terms of propaganda was eliminating the concept of an all-powerful Nazi state. The latter half of the paper gives specific examples and discusses them all in great detail. American film, radio broadcasts, posters, cartoons, and magazine ads are all examined and given as proof of how American propaganda sought to dehumanize and discredit the Nazi regime in order to strengthen the will to fight the Nazis. The concept of morality is heavily discussed, with many propaganda examples containing an idea of American superiority over Germany.
From the Paper
"When Adolf Hitler declared war on the United States on December 11th, 1941 after the attack on Pearl Harbor by the Japanese, America was confronted with the prospect of fighting a war in both Europe and Asia. A stream of propaganda against the United States followed the declaration of war from Nazi Germany, and America responded throughout the war with equally strong propaganda that could be found in a variety of mediums. From the traditional war posters, the more modern idea of magazine ads and the growing influence of Hollywood, American propaganda was vital in winning the war against Nazi Germany by strengthening the public's resolve at home and weakening the Nazis psychological grip over Europe."
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Propaganda in Britain and Germany 1930-45, 2004.
Discusses the effects of mass persuasion on British and German society prior and during the Second World War.
2,680 words (approx. 10.7 pages), 10 sources, APA, $ 80.95
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Abstract
This paper discusses the use of propaganda before and during WWII and its effects on British and German society. It first notes that differences in the countries' war aims had a great effect upon the success and content of propaganda. It then examines how propaganda affected morale. The paper describes how hatred and violence were successful parts of the German, but not British, propaganda campaign. The paper examines the effect of spectacle, speeches, the press, the cinema, and the wireless. It describes the connection between propaganda and egalitarianism and shows how propaganda saturated every aspect of civilian life. Finally, the paper discusses the overall success of British propaganda and the failure of German propaganda.
From the Paper
"Britain produced propaganda to incite hatred of Germans, but in May 1941 the Policy Committee of the Ministry of Morale had to formally propose an anger campaign because the British people lacked personal anger towards the Germans. This campaign was implemented on a small scale and did not significantly alter British attitudes. The Germans, however, were persuaded to hate the British from the first (largely because of residual anger of the Treaty of Versailles), though it took time to make them hate the Jews."
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PR and Propaganda, 2005.
Argues that public relations is propaganda.
1,125 words (approx. 4.5 pages), 3 sources, MLA, $ 39.95
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Abstract
Using Frank Capra's "Why We Fight - Prelude to War" as an example and Edward Bernays seminal work on public relations and propaganda "Propaganda," this essay argues that public relations is propaganda.
From the Paper
"The Frank Capra film "Why We Fight Prelude to War" divides the world in two sides - one good and one evil. The good side is the U S and its allies what are called free peoples versus the evil side represented by dictatorships in Germany Italy and Japan known as the slave peoples. In Capra's film generally considered to be the best piece of cinema propaganda ..."
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Propaganda, 2002.
A discussion of the use of propaganda for the state and the individual.
565 words (approx. 2.3 pages), 0 sources, $ 20.95
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Abstract
The purpose of propaganda is to persuade a large group of people that certain beliefs are the best or most correct ones. This paper discusses how during times of difficulty for any country, propaganda can play an important role for both the state and the individual. It shows how the purpose of propaganda is to manipulate and gives examples of how at times of war such as World War II, propaganda had women persuaded to work for the war effort and how propaganda taught civilians how to use gas masks.
From the Paper
"More ominous propaganda in the United States justified the internment of Japanese Americans, many of whom had been born on American soil or had acquired American citizenship, for no other reason than their race and the fact that we were now at war with Japan. Propaganda promoted the concern about sabotage, especially on the West coast where most Japanese lived. These citizens were held in armed camps for the duration of the war, with propaganda making it palatable for a freedom-loving country."
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Propaganda Used During WWI, 2008.
This paper discusses how and why propaganda was used more during World War I than in any earlier war.
2,545 words (approx. 10.2 pages), 3 sources, APA, $ 77.95
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Abstract
In this article, the writer discusses that propaganda was used more during WWI than in any other war that had preceded it. The writer looks at the reasons for this and explains that due to globalization, propaganda was needed to tell the common person exactly who the country was fighting, and why, because without clear cut reminders, it could get very confusing. The writer then looks at different forms of propaganda used due to technological advances. The writer concludes that propaganda is an effective media tool used by governments to influence their people in a way that they, as one person or a group of people, cannot.
From the Paper
"The second reason that there was more propaganda than in previous wars was the fact that this war was far more brutal than any others that had gone before it. The new technology used in this war guaranteed a much higher loss of life, from deadly mustard gas that could kill from a distance and had an extremely high fatality rate, to the new vehicles being used for the first time, such as tanks and cars, also with very high mortality rates., Also increasing the brutality in this war was the new concept of trench warfare, which contributed greatly to many new diseases such as trench foot, that killed soldiers in alarmingly high numbers. Because of the large amount of brutality in this war, propaganda was essential to the home front. Propaganda was used to belay the concerns of those left at home, and to help keep them optimistic and patriotic towards the war effort."
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Propaganda, 2006.
A review of propaganda and the definitions thereof.
977 words (approx. 3.9 pages), 3 sources, MLA, $ 34.95
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Abstract
This paper takes a look at propaganda. The paper supplies various definitions of propaganda and discusses how, historically, propaganda had been seen to be a negative and heavy-handed way of promoting one's ideologies due to undue influences. According to the paper, this view of propaganda no longer holds true of today.
From the Paper
"By stating the "...some fear is capable of hitting the western United States... (McIntyre, 2006)" an assumption was made again without basis in fact as to who are really afraid of the missiles hitting the United States. Even pointing to the fact that, "It spun out of control seconds after it was launched and the North Koreans never had operational control of the missile" suggested that the North Koreans did not have the proper missile technology - but what were the basis for these statements? If the truth needed to be told, the U.S. government could have shown actual missile launch footages and the failure of some or all of the launched missiles. By doing it this way, statements made by government bureaucrats would coincide with the truth and not just "half-truths or un-truths!"
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Propaganda, 2002.
A discussion of propaganda and social issues.
558 words (approx. 2.2 pages), 0 sources, $ 20.95
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Abstract
This paper shows how a country as a whole can be influenced by government propaganda. It evaluates how propaganda can be a powerful tool to guide the citizens toward cooperation on government policies that focus on national rather than individual need by examples such as the issues of censorship and birth control in Communist China.
From the Paper
"Communist China may be one of the best examples of a culture situated within a political entity ripe for the use of propaganda. The People?s Republic of China does not afford its citizens freedom of speech, freedom of association, or freedom of the press. The government has final censorship rights over all forms of communication including all of the arts. The great majority of Chinese citizens do not have access to the Internet. Thus, the Chinese government is able to control, nearly completely, what the citizens of their country hear."
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