Titlebook: Cold-War Propaganda in the 1950s; Gary D. Rawnsley (Lecturer in Politics) Book 1999 Palgrave Macmillan, a division of Macmillan Publishers

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https://doi.org/10.1007/978-3-8349-8119-6From early 1948 BBC Television had its own newsreel, distinguished from cinema in its capacity to produce much longer and more reflective pieces, and it was this which became television’s unique contribution to public debate.

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https://doi.org/10.1007/978-3-319-46412-1manoeuvres as economies, through private enterprise or government intervention, sought constant expansion; however, all this was meaningless if populations did not endorse and, in some cases, proselytize the values that proved their superiority.

使增至最大

https://doi.org/10.1007/978-3-8349-8119-6y had also found it most difficult to utilize and dangerously subtle and complex. Thus they, and in particular Stalin, came to believe that cinema must be kept simple in content and under tight control. This suspicious approach to the medium was to be the most important factor in the development of Soviet cinema in the postwar era.

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Thomas Robbert,Anna Priester,Stefan Rothtance across the social sciences and the humanities.. Although the contributors to this volume are drawn from a variety of backgrounds and subject areas, they share an enduring fascination with the way that propaganda has influenced the course of international history. This collection of essays demo

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https://doi.org/10.1007/978-3-8349-8119-6 of transition and development, not only in terms of America’s approach to Cold War propaganda, but also in the foreign policy which such propaganda was designed to reinforce. For one thing, propaganda finally became a much more ‘a(chǎn)cceptable’ activity among State Department officials who were suspici

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