Plan: Propaganda a look at 2

Main article: Propaganda in World War II
See also: Black propaganda § Black propaganda in World War II
BE SURE YOU HAVE CORRECT TIME! This poster, intended for navigation students, combines instruction with caricatures of Axis leaders. From left-right: Hitler, Mussolini, and Tojo. Bataan Death March in American propaganda
World War II saw continued use of propaganda as a weapon of war, building on the experience of WW1, both by Hitler's propagandist Joseph Goebbels and the British Political Warfare Executive, as well as the United States Office of War Information (OWI).
Within the US, the British Security Coordination activities worked to counter pro-German sentiment, and isolationist opinion.^[52][53] Because of public distrust following the revelation of false atrocity stories during WW1 and the heavy association of propaganda with the Soviet Union and Nazi Germany, the U.S. government referred to its own propaganda effort as a "strategy of truth", this time using as its main method newsreels and an information format.^[7] Enlisting the cooperation of the news media, industry, and Hollywood, the OWI portrayed the war as a contest against democracy and dictatorship, good and evil.^[7] While the OWI focused on the home front, the Allies, and neutral countries, the military and the Office of Strategic Services (OSS) engaged in psychological warfare by directing propaganda against the Axis powers.^[7]
The British broadcast black propaganda through fake German-language radio stations to Europe. It was disguised to sound like legitimate German radio broadcasts, but it had a negative twist designed to undermine German morale. The Germans undertook a similar program. The Reich Ministry of Public Enlightenment and Propaganda used English language broadcasts – such as Germany Calling – broadcast to the UK. Presenter William Joyce – a British fascist – gained the nickname "Lord Haw-Haw" from the popular press.^[54]
In the US, animation became popular, especially for winning over youthful audiences and aiding the U.S. war effort, e.g., Der Fuehrer's Face (1942), which ridicules Hitler and advocates the value of freedom. Some American war films in the early 1940s were designed to create a patriotic mindset and convince viewers that sacrifices needed to be made to defeat the Axis Powers.^[55] Others were intended to help Americans understand their Allies in general, as in films like Know Your Ally: Britain and Our Greek Allies. Apart from its war films, Hollywood did its part to boost American morale in a film intended to show how stars of stage and screen who remained on the home front were doing their part not just in their labors, but also in their understanding that a variety of peoples worked together against the Axis menace: Stage Door Canteen (1943) features one segment meant to dispel Americans' mistrust of the Soviets, and another to dispel their bigotry against the Chinese.
Cold War propaganda[edit]
A 1988 East German communist poster showing the increase of timber production from 7 million cubic metres in 1970 to 11 million in 1990 Soldier loads a "leaflet bomb" during the Korean War
See also: Red scare, Eastern Bloc information dissemination, Propaganda in the Soviet Union, and Space race
During the Cold War, propaganda became highly ideological rather than tactical, and the rivalry among the United States, Soviet Union, and People's Republic of China generated the most pervasive and intense propaganda seen thus far.^[56]
All sides used film, television, and radio programming to influence their own citizens, each other, and Third World nations. The United States Information Agency operated the Voice of America as an official government station. Radio Free Europe and Radio Liberty, which were, in part, supported by the Central Intelligence Agency, provided grey propaganda in news and entertainment programs to Eastern Europe and the Soviet Union respectively. The Soviet Union's official government station, Radio Moscow, broadcast white propaganda, while Radio Peace and Freedom broadcast grey propaganda. Both sides also broadcast black propaganda programs in periods of special crises.
In 1948, the United Kingdom's Foreign Office created the IRD (Information Research Department), which took over from wartime and slightly post-war departments such as the Ministry of Information and dispensed propaganda via various media such as the BBC and publishing.^[57][58]
Its main targets were in the Third World.^[59] However, it was also set out to "be of use to" British media and opinion formers. As well as supplying material to the BBC World Service, secret lists were compiled of approved journalists and trade unionists to whom material was offered, if not always accepted.
Possibly its most notorious "project" was the joint operation with the CIA to set up Encounter magazine, edited by Stephen Spender from 1953 to 1966. Spender resigned after it emerged that the Congress for Cultural Freedom, which published the magazine, was being covertly funded by the CIA.^[60]
The ideological and border dispute between the Soviet Union and People's Republic of China resulted in a number of cross-border operations. One technique developed during this period was the "backwards transmission," in which the radio program was recorded and played backwards over the air. (This was done so that messages meant to be received by the other government could be heard, while the average listener could not understand the content of the program).
When describing life in capitalist countries, in the US in particular, propaganda focused on social issues such as poverty and anti-union action by the government. Workers in capitalist countries were portrayed as "ideologically close". Propaganda claimed rich people from the US derived their income from weapons manufacturing, and claimed that there was substantial racism or neo-fascism in the US.
When describing life in Communist countries, western propaganda sought to depict an image of a citizenry held captive by governments that brainwash them. The West also created a fear of the East, by depicting an aggressive Soviet Union. In the Americas, Cuba served as a major source and a target of propaganda from both black and white stations operated by the CIA and Cuban exile groups. Radio Habana Cuba, in turn, broadcast original programming, relayed Radio Moscow, and broadcast The Voice of Vietnam as well as alleged confessions from the crew of the USS Pueblo.
George Orwell's novels Animal Farm and Nineteen Eighty-Four are virtual textbooks on the use of propaganda. Though not set in the Soviet Union, these books are about totalitarian regimes that constantly corrupt language for political purposes. These novels were, ironically, used for explicit propaganda. The CIA, for example, secretly commissioned an animated film adaptation of Animal Farm in the 1950s with small changes to the original story to suit its own needs.^[61]
During the Cuban Revolution, in 1955 Fidel Castro stressed the importance of propaganda in his struggle both against Fulgencio Batista and the United States, saying, "Propaganda is the heart of our struggle. We must never abandon propaganda.