It has been said that the British Empire, on which the sun never set, meant little to the man in the street. Apart from the jingoist eruptions at the death of Gordon or the relief of Mafeking he remained stonily indifferent to the imperial destiny that beckoned his rulers so alluringly. Strange, then that for three-quarters of a century it was scarcely possible to buy a bar of soap or a tin of biscuits without being reminded of the idea of Empire. Packaging, postcards, music hall, cinema, boy's stories and school books, exhibitions and parades, all conveyed the message that Empire was an adventure and an ennobling responsibility. Army and navy were a sure shield for the mother country and the subject peoples alike. Boys' brigades and Scouts stiffened the backbone of youth who flocked to join. In this illuminating study John M. Mackenzie explores the manifestations of the imperial idea, from the trappings of royalty through writers like G. A. Henty to the humble cigarette card. He shows that it was so powerful and pervasive that it outlived the passing of Empire itself and, as events such as the Falklands 'adventure' showed, the embers continue to smoulder.

Belgium was a small, neutral country without a colonial tradition when King Leopold II ceded the Congo, his personal property, to the state in 1908. For the next half century Belgium not only ruled an African empire but also, through widespread, enduring, and eagerly embraced propaganda, produced an imperialist-minded citizenry. Selling the Congo is a study of European pro-empire propaganda in Belgium, with particular emphasis on the period 1908–60. Matthew G. Stanard questions the nature of Belgian imperialism in the Congo and considers the Belgian case in light of literature on the French, British, and other European overseas empires. Comparing Belgium to other imperial powers, the book finds that pro-empire propaganda was a basic part of European overseas expansion and administration during the modern period. Arguing against the long-held belief that Belgians were merely “reluctant imperialists,” Stanard demonstrates that in fact many Belgians readily embraced imperialistic propaganda. Selling the Congo contributes to our understanding of the effectiveness of twentieth-century propaganda by revealing its successes and failures in the Belgian case. Many readers familiar with more-popular histories of Belgian imperialism will find in this book a deeper examination of European involvement in central Africa during the colonial era.

"In the 1930s and '40s, Japanese political architects of the Manchukuo project in occupied northeast China realized the importance of using various cultural media to promote a modernization program in the region, as well as its expansion into other parts of Asia. Ironically, the writers and artists chosen to spread this imperialist message had left-wing political roots in Japan, where their work strongly favoured modernist, even avant-garde, styles of expression. In Glorify the Empire, Annika Culver explores how these once anti-imperialist intellectuals produced modernist works celebrating the modernity of a fascist state and reflecting a complicated picture of complicity with, and ambivalence towards, Japan's utopian project. During the war, literary and artistic representations of Manchuria accelerated, and the Japanese-led culture in Manchukuo served as a template for occupied areas in Southeast Asia. A groundbreaking work, Glorify the Empire magnifies the intersection between politics and art in a rarely examined period in Japanese history."--Publisher's website.

Winner of the Popular Culture Association's Ray and Pat Browne Award for Best Book in Popular or American Culture In the 1940s and ’50s, comic books were some of the most popular—and most unfiltered—entertainment in the United States. Publishers sold hundreds of millions of copies a year of violent, racist, and luridly sexual comics to Americans of all ages until a 1954 Senate investigation led to a censorship code that nearly destroyed the industry. But this was far from the first time the US government actively involved itself with comics—it was simply the most dramatic manifestation of a long, strange relationship between high-level policy makers and a medium that even artists and writers often dismissed as a creative sewer. In Pulp Empire, Paul S. Hirsch uncovers the gripping untold story of how the US government both attacked and appropriated comic books to help wage World War II and the Cold War, promote official—and clandestine—foreign policy and deflect global critiques of American racism. As Hirsch details, during World War II—and the concurrent golden age of comic books—government agencies worked directly with comic book publishers to stoke hatred for the Axis powers while simultaneously attempting to dispel racial tensions at home. Later, as the Cold War defense industry ballooned—and as comic book sales reached historic heights—the government again turned to the medium, this time trying to win hearts and minds in the decolonizing world through cartoon propaganda. Hirsch’s groundbreaking research weaves together a wealth of previously classified material, including secret wartime records, official legislative documents, and caches of personal papers. His book explores the uneasy contradiction of how comics were both vital expressions of American freedom and unsettling glimpses into the national id—scourged and repressed on the one hand and deployed as official propaganda on the other. Pulp Empire is a riveting illumination of underexplored chapters in the histories of comic books, foreign policy, and race.

Popular culture is invariably a vehicle for the dominant ideas of its age. Never was this more true than in the late-19th and early 20th centuries, when it reflected the nationalist and imperialist ideologies current throughout Europe. This text examines the various media through which nationalist ideas were conveyed in late-Victorian and Edwardian times - in the theatre, "ethnic" shows, juvenile literature, education and the iconography of popular art. Several chapters look beyond World War I, when the most popular media, cinema and broadcasting, continued to convey an essentially late-19th-century world view, while government agencies like the Empire Marketing Board sought to convince the public of the economic value of empire. Youth organizations, which had propagated imperialist and militarist attitudes before the war, struggled to adapt to the new internationalist climate.

In order to provide a better understanding of the shifting nature of influence, this volume looks at how the British government employed various forms of persuasion to achieve its goals across the twentieth century. The collection provides a range of case studies to assess how effectively - or ineffectively - influence was brought to bear on an array of non-western societies. This volume will be of interest not only to historians, but to anyone interested in the operation of influence as a foreign policy tool.

Empire of Ideas examines the origins of the U. S. government's programs in public diplomacy and how the nation's image in the world became an essential component of U. S. foreign policy.

His research is the first of its kind to treat propaganda as a profession in wartime Japan.The Thought War will be important for not only students of Japanese history and culture but also those interested in comparative studies of World War II and the increasingly popular propaganda studies of the United States, Nazi Germany, Stalin's Russia, and the United Kingdom."--BOOK JACKET.

An exploration of how an official French visual culture normalized France’s colonial project and exposed citizens and subjects to racialized ideas of life in the empire. By the end of World War I, having fortified its colonial holdings in the Caribbean, Latin America, Africa, the Indian Ocean, and Asia, France had expanded its dominion to the four corners of the earth. This volume examines how an official French visual culture normalized the country’s colonial project and exposed citizens and subjects alike to racialized ideas of life in the empire. Essays analyze aspects of colonialism through investigations into the art, popular literature, material culture, film, and exhibitions that represented, celebrated, or were created for France’s colonies across the seas. These studies draw from the rich documents and media—photographs, albums, postcards, maps, posters, advertisements, and children’s games—related to the nineteenth- and twentieth-century French empire that are held in the Getty Research Institute’s Association Connaissance de l’histoire de l’Afrique contemporaine (ACHAC) collections. ACHAC is a consortium of scholars and researchers devoted to exploring and promoting discussions of race, iconography, and the colonial and postcolonial periods of Africa and Europe.

This book explores the aspiration to universal, imperial rule across Eurasian history from antiquity to the eighteenth century.