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Contributions by Derek T. Buescher, Travis L. Cox, Trischa Goodnow,
Jon Judy, John R. Katsion, James J. Kimble, Christina M. Knopf,
Steven E. Martin, Brad Palmer, Elliott Sawyer, Deborah Clark Vance,
David E. Wilt, and Zou Yizheng. One of the most overlooked aspects
of the Allied war effort involved a surprising initiative-comic
book propaganda. Even before Pearl Harbor, the comic book industry
enlisted its formidable army of artists, writers, and editors to
dramatize the conflict for readers of every age and interest. Comic
book superheroes and everyday characters modeled positive behaviors
and encouraged readers to keep scrapping. Ultimately, those
characters proved to be persuasive icons in the war's most colorful
and indelible propaganda campaign. The 10 Cent War presents a
riveting analysis of how different types of comic books and comic
book characters supplied reasons and means to support the war. The
contributors demonstrate that, free of government control, these
appeals produced this overall imperative. The book discusses the
role of such major characters as Superman, Wonder Woman, and Uncle
Sam along with a host of such minor characters as kid gangs and
superhero sidekicks. It even considers novelty and small presses,
providing a well-rounded look at the many ways that comic books
served as popular propaganda.
The Allied victory in World War II relied on far more than
courageous soldiers. Americans on the home front constantly
supported the war effort in the form of factory work, war bond
purchases, salvage drives, and morale-rallying efforts. Motivating
these men, women, and children to keep doing their bit during the
war was among the conflict's most urgent tasks. One of the most
overlooked aspects of these efforts involved a surprising
initiative - comic book propaganda. Even before Pearl Harbor, the
comic book industry enlisted its formidable army of artists,
writers, and editors to dramatize the conflict for readers of every
age and interest. Comic book superheroes and everyday characters
modeled positive behaviors and encouraged readers to keep
scrapping. Ultimately those characters proved to be persuasive
icons in the war's most colorful and indelible propaganda campaign.
The 10 Cent War presents a riveting analysis of how different types
of comic books and comic book characters supplied reasons and means
to support the war effort. The contributors demonstrate that, free
of government control, these appeals produced this overall
imperative. The book discusses the role of such major characters as
Superman, Wonder Woman, and Uncle Sam along with a host of such
minor characters as kid gangs and superhero sidekicks. It even
considers novelty and small presses, providing a well-rounded look
at the many ways that comic books served as popular propaganda.
In the wake of Pearl Harbor, President Roosevelt called for the
largest arms buildup in our nation's history. A shortage of steel,
however, quickly slowed the program's momentum, and arms production
fell dangerously behind schedule. The country needed scrap metal.
Henry Doorly, publisher of the Omaha World-Herald, had the
solution. Prairie Forge tells the story of the great Nebraska scrap
drive of 1942-a campaign that swept the nation and yielded five
million tons of scrap metal, literally salvaging the war effort
itself. James J. Kimble chronicles Doorly's conception of a fierce
competition pitting county against county, business against
business, and, in schools across the state, class against
class-inspiring Nebraskans to gather 67,000 tons of scrap metal in
only three weeks. This astounding feat provided the template for a
national drive. A tale of plowshares turned into arms, Prairie
Forge gives the first full account of how home became home front
for so many civilians.
During World War II, the home front offered unprecedented levels of
moral, financial, and labor support for the war effort. This was no
accident. Through the U.S. Treasury Department's war bond drives,
Franklin D. Roosevelt's administration strategically cultivated
national morale by creating the largest single domestic propaganda
campaign known to that time. Donald Duck and Bugs Bunny joined Judy
Garland, Dorothy Lamour, and Lana Turner to urge Americans to buy
war bonds, helping to create a virtual army of home front soldiers.
Dr. Seuss drew cartoons, Irving Berlin wrote songs, and Norman
Rockwell designed posters to help raise over $185 billion for the
struggle, most of it coming from average citizens who well
remembered the poverty of the Depression. In ""Mobilizing the Home
Front"", James J. Kimble marshals archival documents, public
appeals, and a wealth of internal memoranda, reports, and surveys
to offer a new understanding of the government's eight war bond
drives and the psyche of the nation at war. With roots in
propaganda studies, military history, rhetorical criticism, and
peace studies, this book adds new dimensions to our understanding
of the waging of war by the ""Greatest Generation.
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