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Lowell Thomas, The Great Voice Of The Universal Newsreels, Narrates This Timeless Journey Through The Films Of The Movie Makers Of The War To End All Wars (1975, Color, 51 Minutes) PLUS Bonus Feature "Hollywood Goes To War" From The Landmark TV Documentary Series "Hollywood" (1980, Color, 45 Minutes), Presented In The Highest DVD Quality MPG Video Format Of 9.1 MBPS As An Archival Quality All Regions Format DVD, MP4 Video Download Or USB Flash Drive! #MovingPictureBoysInTheGreatWar #LowellThomas #PropagandaFilms #WorldWarIFilmPropaganda #WorldWarIPropagandaFilms #WWIPropagandaFilms #HollywoodDuringWorldWarI #HollywoodDuringWWI #DOI #CreelCommittee #Movies #Film #MotionPictures #Hollywood #OldHollywood #SilverScreen #MovieStars #FilmStars #PopIcons #UnitedStatesInWorldWarI #UnitedStatesInWWI #USInWorldWarI #USInWWI #WesternFront #WesternFrontWorldWarI #WesternFrontWWI #WorldWarI #WorldWarOne #WorldWar1 #WWI #WW1 #FirstWorldWar #FirstEuropeanWar #EuropeanCivilWar #DVD #VideoDownload #MP4 #USBFlashDrive
World War I Film Propaganda: Nations were new to cinema and its capability to spread and influence mass sentiment at the start of World War I. The early years of the war were experimental in regard to using films as a propaganda tool, but eventually became a central instrument for what George Mosse has called the "nationalization of the masses" as nations learned to manipulate emotions to mobilize the people for a national cause against the imagined or real enemy. The U.S. entered the war in April 1917, which achieved the primary objective of Wellington House, the more common name for Britain's War Propaganda Bureau, which operated during the First World War from Wellington House, a building on Buckingham Gate, London, which was the headquarters of the National Insurance Commission before the War. The U.S. Department Of Information (DOI) accordingly increased its production of war films, but did not know what would play most effectively in the U.S., leading to nearly every British war film being sent to the States thereafter, including The Tanks in Action at the Battle of the Ancre and The Retreat of the Germans at the Battle of Arras, both of which were eventually released as serials. It also turned away from feature-length films because they took longer to produce, leaving greater gaps between releases. The DOI found it better to constantly release films and shorts of varying lengths and topics, including newsreels, to increase the market saturation. Newsreels became increasingly popular and a part of the standard war propaganda policy with the DOI and its successor, the Ministry of Information. The U.S. developed its own propaganda organization, the Committee on Public Information (CPI), days after the declaration of war. Originally wary of film as a propaganda medium, it created the Division of Films on 25 September 1917 to handle films taken by army Signal Corps cameramen. It did not release commercial films. Urban's Kineto Company of America edited, processed, and printed the CPI's films, including Pershing's Crusaders, America's Answer, and Under Four Flags. Similar to Britain, American interest in feature-length films waned, in favor of newsreels and shorts. This also proved to be more profitable though even American audiences came to prefer British war films. Charlie Chaplin produced and starred in multiple pro-US propaganda films. One film, Zepped, which contains the only known scenes of a Zeppelin bombing raid over London, was designed to be used on a morale mission for the troops in Egypt and to defuse the terror inspired by the frequent Zeppelin raids. In 1918, Chaplin made, at his own expense, The Bond, and produced short clips in which he beat up Kaiser Wilhelm with a hammer bearing the inscription "War Bonds". The 1915 film The German Side of the War was one of the only American films to show the German perspective of the war. At the theater lines stretched around the block; the screenings were received with such enthusiasm that would-be moviegoers resorted to purchasing tickets from scalpers.