DOCSLIB.ORG

World War II Propaganda in Feature Films from 1939-1943

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
World War II Propaganda in Feature Films from 1939-1943 University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 5-2003 "The beginning of a beautiful friendship" : World War II propaganda in feature films from 1939-1943 Krista Leigh Richmond Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Recommended Citation Richmond, Krista Leigh, ""The beginning of a beautiful friendship" : World War II propaganda in feature films from 1939-1943. " Master's Thesis, University of Tennessee, 2003. https://trace.tennessee.edu/utk_gradthes/5285 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Krista Leigh Richmond entitled ""The beginning of a beautiful friendship" : World War II propaganda in feature films from 1939-1943." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Science, with a major in Communication. Bonnie Riechert, Major Professor We have read this thesis and recommend its acceptance: Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: • I am submitting herewith a thesis written by Krista Richmond entitled "'The Beginning of a Beautiful Friendship': World War II Propaganda in Feature Films from1939-1943." I have examined the finalpaper copy of this thesis for formand content and recommend that it be accepted in partial fulfillmentof the requirements for the degreeof Master of Science, with a major in Communications. ���Major Professor We have read this thesis and recommend its acceptance: � Acceptance forthe Council: · " ''THEBEGINNING OF A BEAUTIFUL FRIENDSHIP": WORLDWAR IIPROPAGANDA IN FEATUREFILMS FROM 1939-1943 A Thesis Presented forthe Master of Science Degree The University of Tennessee, Knox ville Krista Leigh Richmond May 2003 Dedication This thesis is dedicated to my family. I have learned so much fromall of you. Thank you all for your love, support, and encouragement. I know that I will never be far from home because you will always be with me. ii Acknowledgements I wish to thank all the people who helped me complete my Master of Science in Communications. I thank Dr. Bonnie Riechert forchairing my committee and offering me advice and expertise. I also thank Dr. Paul Ashdown and Dr. Bob Glenn forserving on my committee. I want to offer a special thank you to Dr. Lisa Fall. Working with you has been an adventure that I hope you have enjoyed as much as I have. Thanks forbeing my biggest fan. iii Abstract The United States governmentbegan to understand the importance of film propaganda during World War I. Hollywood and the filmindustry were valuable resources for the government's propaganda effortsduring World War II. Like Rick Blaine said in Casablanca (1943), it was "the beginning of a beautiful friendship." This study examinesthe categoriesof World War II propaganda messages in six featurefilms released from 1939 to 1943 - The Wizard of Oz ( 1939), Gone with the Wind ( 1939), The Grapes of Wrath (1940), Citizen Kane (1941), TheMaltese Falcon (1941), and Casablanca (1943). Each film was screened for propaganda messages relating to World War II. The numbers and categories of the propaganda messages were used to determine themes in the movies. The findings revealed two important themes - "good Americans" and "bad Germans." More than one-third of the propaganda messages (22 out of 64) were categorized as Pro-American (15) or Pro-Democracy (7). The Anti-German category also contained almost one-third of the messages. Together, these categories account for nearly two-thirds of all the propaganda messages identifiedin the sample films. Another finding was that the number of propaganda messages in the films increased steadily as the war progressed. The content of the messages was also reflected in World War II radio propaganda. Film proved to be a valuable tool forgovernment propaganda during World War II, and researchers should continue to study its uses and effectiveness. iv Table of Contents I. Introduction... .......................................................................... 1 II. Literature Review...... ................................................................6 UnderstandingPropaganda ........................................................... 6 Wartime Propaganda....................................... ........................6 PropagandaTechni ques ............................................................8 One-Sided and Two-Sided Messages ............................................9 Forming the Inoculation Theory.................. .............................. 13 Understanding Film Propaganda... .................................................15 Characteristics ......................................................................16 Content Variables ..................................................................16 FonnVariables ......... ............................................................ 17 Understanding Film Propagandaduring World War II....... ................... 18 Politics .............................................................................. 18 British Film Propaganda...... .................................................... 21 Film Propaganda and the Military... ...........................................23 Boosting Morale ................................................................... 24 African-Americansand Film Propaganda............... ...................... 25 Music in Film Propaganda...... ................................................. 27 Cartoonsand Humor .............................................................. 29 An Exampleof Analysis- The Great Dictator (1940)...... .................31 Analyzing Propagandain Feature Films -1939 to 1943 ..................... 33 III. Method...... ........................................................................... 34 Profileof the Sample...... .............................................................34 Instrument... ........................................................................... 35 Variables... .............................................................................. 35 Limitations... ........................................................................... 38 IV. Results......... .........................................................................39 Research Question I .................................................................. 39 The Wizard of Oz (1939)... ................................................ ...... 39 Gonewith the Wind (1939)......... ............................................ .42 V The Grapes of Wrath (1940)... .................................................. 43 Citizen Kane (1941) ............................................................... 43 The Maltese Falcon (1941)... ................................................... 44 Casablanca (1943) ............................................................... .45 Research Question 2... ................................................ ............... 46 The Wizard of Oz (1939)......... ................................................ 46 Gone with the Wind(1939)... ................................................... 46 The Grapes of Wrath (1940) .....................................................46 Citizen Kane (1941) ............................................................... 49 The Maltese Falcon (1941) ...................................................... 49 Casablanca(1943) ............................................................... .49 Research Question 3... ... ......... .................. ................................. 49 Research Question 4... ............................................................... 50 Films Released in 1939......... ..................................................50 Film Released in 1940........ � ................................................... 50 Films Released in 1941...... .................................... .........· ........ 50 Film Released in· 1943...... ...................................................... 50 Research Question 5 .................. ...· .................. ........................... 52 The Wizard of Oz (1939)...... ................................................... 52 Gone with the Wind (1939) ...................................................... 52 The Grapes of Wrath (1940)......... �-- ·.-............................. ........... 52 Citizen Kane (1941) .................................. � ............................ 53 The Maltese Falcon (1941) .......................·.. ............................. 53 Casablanca (1943) ........................ ........................ -�- ............. 54 Research Question 6 .................................................................. 54 Research Question 7... ............................................................... 56 Films Released in 1939...... .......................................... ......· ..... 56 Film Released in 1940... ......................................................... 56 Films Released in 1941. ..........................................................56
Load more

Recommended publications
  • The Only Defense Is Excess: Translating and Surpassing Hollywood’S Conventions to Establish a Relevant Mexican Cinema”*
    ANAGRAMAS - UNIVERSIDAD DE MEDELLIN “The Only Defense is Excess: Translating and Surpassing Hollywood’s Conventions to Establish a Relevant Mexican Cinema”* Paula Barreiro Posada** Recibido: 27 de enero de 2011 Aprobado: 4 de marzo de 2011 Abstract Mexico is one of the countries which has adapted American cinematographic genres with success and productivity. This country has seen in Hollywood an effective structure for approaching the audience. With the purpose of approaching national and international audiences, Meximo has not only adopted some of Hollywood cinematographic genres, but it has also combined them with Mexican genres such as “Cabaretera” in order to reflect its social context and national identity. The Melodrama and the Film Noir were two of the Hollywood genres which exercised a stronger influence on the Golden Age of Mexican Cinema. Influence of these genres is specifically evident in style and narrative of the film Aventurera (1949). This film shows the links between Hollywood and Mexican cinema, displaying how some Hollywood conventions were translated and reformed in order to create its own Mexican Cinema. Most countries intending to create their own cinema have to face Hollywood influence. This industry has always been seen as a leading industry in technology, innovation, and economic capacity, and as the Nemesis of local cinema. This case study on Aventurera shows that Mexican cinema reached progress until exceeding conventions of cinematographic genres taken from Hollywood, creating stories which went beyond the local interest. Key words: cinematographic genres, melodrama, film noir, Mexican cinema, cabaretera. * La presente investigación fue desarrollada como tesis de grado para la maestría en Media Arts que completé en el 2010 en la Universidad de Arizona, Estados Unidos.
    [Show full text]
  • Dean E. Vogel, CTA President
    Building the Future the High Desert Way: Excellence, Innovation, Equity and Pride (YHU\RQHLV,QYLWHGWRWKH :(/&20(5(&(37,21 IRU )RRG6SLULWV0XVLF 'DQFLQJDQG)XQ RQ )ULGD\1RYHPEHU SP &RKLED%DOOURRP 6SRQVRUHGE\WKH%XVLQHVV3DUWQHUV CALIFORNIA TEACHERS ASSOCIATION Page Welcome Letter . 1 CTA Board of Directors and NEA Directors from California . 2 High Desert Service Center Council Facts . 3-4 General Information . 5-6 Agenda Friday, November 21. 7 Saturday, November 22 . 7 Sunday, November 23 . 8 Your Personal Conference Schedule . 9 Workshops-at-a-Glance. 10 Workshop Descriptions . 11-16 Trainers and Conference Staff . 17 Biographies Dean E. Vogel, CTA President . 18 Eric C. Heins, CTA Vice President . 19 Mikki Cichocki-Semo, CTA Secretary-Treasurer . 20 Joyce Powell, Executive Committee Member, National Education Association . 21 Business Partners. 22 Urgent Care Information . .. 23 EMAC Reception . .. Inside Back Cover Hotel Map . .. Back Cover CALIFORNIA TEACHERS ASSOCIATION Welcome to the 2014 High Desert Service Center Fall Leadership Conference Building the Future the High Desert Way: Excellence, Innovation, Equity and Pride! Welcome to the 2014 High Desert Service Center Fall Leadership Conference. It is a pleasure for our Service Center Council to again host this annual conference! We are excited to join with you to share, learn and teach so that we all may be the most effective education advocates for our members and the communities in which we serve. Prior to 1989, High Desert chapters participated in the San Gorgonio and Sierra Service Centers. However, it became clear that the best way to address the unique needs of our unique region would be to establish our own service center.
    [Show full text]
  • Propaganda, Cinema and the American Character in World War Ii Theodore Kornweibel, Jr
    humphrey bogart's Sahara propaganda, cinema and the american character in world war ii theodore kornweibel, jr. How and why a people responds affirmatively to momentous events in the life of its nation is an intriguing question for the social historian. Part of the answer may be found in the degree to which a populace can connect such events to traditional (and often idealistic) themes in its culture, themes which have had wide currency and restatement. This kind of identification can be seen particularly in wartime; twice in this century large segments of the American population rallied around the call to preserve democracy under the guise of fighting a "war to end all wars" and another to preserve the "four freedoms." But popular perceptions of these global conflicts were not without both deliberate and unconscious manipulation in many areas of the culture, including commercial motion pictures. Hollywood produced hundreds of feature films during World War II which depicted facets of that conflict on the domestic homefront, the soil of friendly Allies and far-flung battlefields. Many of the films showed no more than a crude addition of the war theme to plots that would have been filmed anyway in peacetime, such as gangster stories and musical comedies. But other movies reached a deeper level in subtly linking the war to American traditions and ideals. Sahara,1 Columbia Pictures' biggest money-maker in 1943, starring Humphrey Bogart in a finely understated performance, is such a motion picture. Students of American culture will find Sahara and its never-filmed predecessor script, "Trans-Sahara," artifacts especially useful in ex­ amining two phenomena: the process of government pressure on 0026-3079/81/2201-0005S01.50/0 5 movie studios to ensure that the "approved" war.
    [Show full text]
  • Ethnic Diversity in OACUHO .2
    Ethnic Diversity in OACUHO OJUNE 2018 02 | ACKNOWLEDGEMENTS ACKNOWLEDGEMENTS This project would not have been possible without the contributions, compassion, and energy of many. Dialogue related to the lack of diverse support with the report’s commentary on representation in our field has undoubtedly Indigeneity in OACUHO. existed quietly between members for some time, but I must first thank two people who Without question, I must thank the started a louder conversation within anonymous research participants of this OACUHO: Aman Litt and Brian Cunha. project. Self-identified professionals of Aman and Brian presented The Elephant in colour contributed their voices and the Room: Ethnic Diversity in OACUHO at experiences in a variety of ways: focus the 2017 OACUHO Spring Conference at groups, interviews, and anonymous survey Carleton University. Thank you encouraging contributions. The participants include a space within our association to have this current association members, past conversation. members, and student staff from member institutions. Your voices tell the story of this I must also thank the members who report, and they matter deeply to this demonstrated their interest in keeping this project’s purpose. conversation going throughout the rest of the Spring Conference and upon returning Thank you to the 2017-2018 OACUHO to campus. Your interest and engagement Board and President, Amanda Ziegler, who fueled the support for this project. supported this project and gave the project team the space to conduct its work. Thank Ife Kolade, Carmen Law, and Dirk Rodricks you to 2018-2019 President Ian each served as Subcommittee Leads for Crookshank, for showing full support of this project.
    [Show full text]
  • Senate the Senate Was Not in Session Today
    E PL UR UM IB N U U S Congressional Record United States th of America PROCEEDINGS AND DEBATES OF THE 110 CONGRESS, FIRST SESSION Vol. 153 WASHINGTON, FRIDAY, JANUARY 19, 2007 No. 11 Senate The Senate was not in session today. Its next meeting will be held on Monday, January 22, 2007, at 1 p.m. House of Representatives FRIDAY, JANUARY 19, 2007 The House met at 10 a.m. and was PLEDGE OF ALLEGIANCE weather patterns to change. Think called to order by the Speaker pro tem- The SPEAKER pro tempore. Will the about what we have seen in the last pore (Mr. ROSS). gentleman from New York (Mr. WALSH) few weeks alone: snow in Los Angeles, billions of dollars in damage to Cali- f come forward and lead the House in the Pledge of Allegiance. fornia citrus crops because of a freeze. DESIGNATION OF THE SPEAKER Mr. WALSH of New York led the The burning of fossil fuels has con- PRO TEMPORE Pledge of Allegiance as follows: tributed to erratic weather. Last year, we had the warmest weather in the The SPEAKER pro tempore laid be- I pledge allegiance to the Flag of the United States of America, and to the Repub- United States continent in 112 years. fore the House the following commu- Now, instead of separating the world nication from the Speaker: lic for which it stands, one nation under God, indivisible, with liberty and justice for all. with our politics, it is imperative that HOUSE OF REPRESENTATIVES, we bring the world together to meet Washington, DC, January 19, 2007.
    [Show full text]
  • Film Studies (FILM) 1
    Film Studies (FILM) 1 FILM-115 World Cinema 3 Units FILM STUDIES (FILM) 54 hours lecture; 54 hours total This course will survey the historical, social, and artistic development FILM-100 Survey and Appreciation of Film 3 Units of cinema around the globe, introducing a range of international films, 54 hours lecture; 54 hours total movements, and traditions. This course is an introduction to the history and elements of filmmaking Transfers to both UC/CSU such as narrative, mise-en-scene, cinematography, acting, editing, and FILM-117 Director's Cinema 3 Units sound as well as approaches to film criticism. 54 hours lecture; 54 hours total Transfers to both UC/CSU This course examines the historical and artistic career of a seminal FILM-101 Introduction to Film Production 3 Units director in cinema history. Possible subjects include Martin Scorsese, 36 hours lecture; 54 hours lab; 90 hours total Alfred Hitchcock, Francis Ford Coppola, and Woody Allen. This course is designed to introduce you to the creative process Transfers to CSU only of filmmaking. We will study all aspects of production from the FILM-120 Horror Film 3 Units conceptualization of ideas and scripting, to the basic production 54 hours lecture; 54 hours total equipment and their functions, and finally the production and post- This course offers an in-depth examination of the popular horror film production processes. Assignments will emphasize visualization, through an analysis of its historical evolution, major theories, aesthetics shooting style, and production organization. Presentation of ideas in and conventions, and the impact of its role as a reflection of culture both the written word and visual media are integral to the production society.
    [Show full text]
  • RESISTANCE MADE in HOLLYWOOD: American Movies on Nazi Germany, 1939-1945
    1 RESISTANCE MADE IN HOLLYWOOD: American Movies on Nazi Germany, 1939-1945 Mercer Brady Senior Honors Thesis in History University of North Carolina at Chapel Hill Department of History Advisor: Prof. Karen Hagemann Co-Reader: Prof. Fitz Brundage Date: March 16, 2020 2 Acknowledgements I want to thank Dr. Karen Hagemann. I had not worked with Dr. Hagemann before this process; she took a chance on me by becoming my advisor. I thought that I would be unable to pursue an honors thesis. By being my advisor, she made this experience possible. Her interest and dedication to my work exceeded my expectations. My thesis greatly benefited from her input. Thank you, Dr. Hagemann, for your generosity with your time and genuine interest in this thesis and its success. Thank you to Dr. Fitz Brundage for his helpful comments and willingness to be my second reader. I would also like to thank Dr. Michelle King for her valuable suggestions and support throughout this process. I am very grateful for Dr. Hagemann and Dr. King. Thank you both for keeping me motivated and believing in my work. Thank you to my roommates, Julia Wunder, Waverly Leonard, and Jamie Antinori, for being so supportive. They understood when I could not be social and continued to be there for me. They saw more of the actual writing of this thesis than anyone else. Thank you for being great listeners and wonderful friends. Thank you also to my parents, Joe and Krista Brady, for their unwavering encouragement and trust in my judgment. I would also like to thank my sister, Mahlon Brady, for being willing to hear about subjects that are out of her sphere of interest.
    [Show full text]
  • France and the German Question, 1945–1955
    CreswellFrance and and the Trachtenberg German Question France and the German Question, 1945–1955 ✣ What role did France play in the Cold War, and how is French policy in that conºict to be understood? For many years the prevailing as- sumption among scholars was that French policy was not very important. France, as the historian John Young points out, was “usually mentioned in Cold War histories only as an aside.” When the country was discussed at all, he notes, it was “often treated as a weak and vacillating power, obsessed with outdated ideas of a German ‘menace.’”1 And indeed scholars often explicitly argued (to quote one typical passage) that during the early Cold War period “the major obsession of French policy was defense against the German threat.” “French awareness of the Russian threat,” on the other hand, was sup- posedly “belated and reluctant.”2 The French government, it was said, was not eager in the immediate postwar period to see a Western bloc come into being to balance Soviet power in Europe; the hope instead was that France could serve as a kind of bridge between East and West.3 The basic French aim, according to this interpretation, was to keep Germany down by preserving the wartime alliance intact. Germany itself would no longer be a centralized state; the territory on the left bank of the Rhine would not even be part of Germany; the Ruhr basin, Germany’s industrial heartland, would be subject to allied control. Those goals, it was commonly assumed, were taken seriously, not just by General Charles de Gaulle, who headed the French provisional government until Jan- uary 1946, but by Georges Bidault, who served as foreign minister almost without in- terruption from 1944 through mid-1948 and was the most important ªgure in French foreign policy in the immediate post–de Gaulle period.
    [Show full text]
  • The Soviet Union After 1945: Economic Recovery and Political Repression
    The Soviet Union after 1945: Economic Recovery and Political Repression Mark Harrison* Department of Economics, University of Warwick Centre for Russian & East European Studies, University of Birmingham Hoover Institution on War, Revolution, and Peace, Stanford University Abstract Salient features of the Soviet Union after World War II include rapid economic recovery and the consolidation of Stalin’s rule. Both economic recovery and political consolidation are explained in large part by temporary factors arising from the war. Rapid postwar growth is attributed to the scope arising from a combination of preceding shocks that included the war itself but also stretched back into the prewar years. Political-economy considerations link Stalin’s capacity to organizing recovery while delaying reforms to the quality of repression, based on his exploitation of the war as a source of new information about the citizens over whom he ruled. JEL Codes: E1, N4, P2 * Mail: Department of Economics, University of Warwick, Coventry CV4 7AL, UK. Email: [email protected]. First draft: December 11, 2006. This version: April 14, 2010. The Soviet Union after 1945: Economic Recovery and Political Repression The story of the Soviet Union’s postwar years appears almost as remarkable as the story of the war.1 The USSR came to victory in 1945 only after first coming close to total defeat. In 1945 the Red Army occupied Tallinn, Riga, Vilnius, Warsaw, Berlin, Vienna, Prague, Budapest, and Sofia, but behind the army the country lay in ruins. Its people had suffered 25 million premature deaths. The survivors were profoundly weary. Many hoped for reconciliation and relaxation.
    [Show full text]
  • American Women Mathematics Phds of the 1940S Margaret A
    HISTORY American Women Mathematics PhDs of the 1940s Margaret A. M. Murray Introduction In this article, my specific focus is on the American Since 1993, I have been compiling and updating a database women mathematics PhDs of the 1940s. I begin by laying of information on 192 women awarded PhDs in mathe- out some historical context for understanding this cohort matics by institutions of higher education in the United of American women in mathematics. Next, I provide a list States and Canada during the years 1940–1959. Back in the (current as of January 2021) of the 86 women I’ve been 1990s, I compiled the list using several print sources (see able to identify who earned mathematics PhDs in the US [15, pp. 21–23] for details) and, in subsequent years, I’ve and Canada during the 1940s, and go on to describe some crosschecked, augmented, and updated it against a num- of their personal and professional characteristics. Finally, I ber of online sources (e.g., departmental histories, official discuss ongoing work on the Women Becoming Mathemati- university publications, public documents available on cians website ([17]), which serves as a reference repository genealogy websites, online obituaries). While it’s difficult for basic background information on this generation of to be sure that the list of doctoral recipients is 100% com- American women mathematics PhDs. plete, the total number for the US is reasonably close to that A brief comment on notation: when I introduce a par- reported by the National Academy of Sciences (e.g., [9]). ticular woman mathematics PhD in the text, I enclose the Since 2016, I’ve been gradually publishing information name of the PhD-granting institution and the year the from the database at the Women Becoming Mathematicians PhD was awarded in parentheses immediately following website, WomenBecomingMathematicians.net ([17]).
    [Show full text]
  • Time Travelers Camporee a Compilation of Resources
    1 Time Travelers Camporee A Compilation of Resources Scouts, Ventures, Leaders & Parents…. This is a rather large file (over 80 pages). We have included a “Table of Contents” page to let you know the page numbers of each topic for quick reference. The purpose of this resources to aid the patrols, crews (& adults) in their selection of “Patrol Time Period” Themes. There are numerous amounts of valuable information that can be used to pinpoint a period of time or a specific theme /subject matter (or individual).Of course, ideas are endless, but we just hope that your unit can benefit from the resources below…… This file also goes along with the “Time Traveler” theme as it gives you all a look into a wide variety of subjects, people throughout history. The Scouts & Ventures could possibly use some of this information while working on some of their Think Tank entries. There are more events/topics that are not covered than covered in this file. However, due to time constraints & well, we had to get busy on the actual Camporee planning itself, we weren’t able to cover every event during time. Who knows ? You might just learn a thing or two ! 2 TIME TRAVELERS CAMPOREE PATROL & VENTURE CREW TIME PERIOD SELECTION “RESOURCES” Page Contents 4 Chronological Timeline of A Short History of Earth 5-17 World Timeline (1492- Present) 18 Pre-Historic Times 18 Fall of the Roman Empire/ Fall of Rome 18 Middle Ages (5th-15th Century) 19 The Renaissance (14-17th Century) 19 Industrial Revolution (1760-1820/1840) 19 The American Revolutionary War (1775-1783) 19 Rocky Mountain Rendezvous (1825-1840) 20 American Civil War (1861-1865) 20 The Great Depression (1929-1939) 20 History of Scouting Timeline 20-23 World Scouting (Feb.
    [Show full text]
  • Censorship and Holocaust Film in the Hollywood Studio System Nancy Copeland Halbgewachs
    University of New Mexico UNM Digital Repository Sociology ETDs Electronic Theses and Dissertations 2-1-2012 Censorship and Holocaust Film in the Hollywood Studio System Nancy Copeland Halbgewachs Follow this and additional works at: https://digitalrepository.unm.edu/soc_etds Recommended Citation Halbgewachs, Nancy Copeland. "Censorship and Holocaust Film in the Hollywood Studio System." (2012). https://digitalrepository.unm.edu/soc_etds/18 This Dissertation is brought to you for free and open access by the Electronic Theses and Dissertations at UNM Digital Repository. It has been accepted for inclusion in Sociology ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. Nancy Copeland Halbgewachs Candidate Department of Sociology Department This dissertation is approved, and it is acceptable in quality and form for publication: Approved by the Dissertation Committee: Dr. George A. Huaco , Chairperson Dr. Richard Couglin Dr. Susan Tiano Dr. James D. Stone i CENSORSHIP AND HOLOCAUST FILM IN THE HOLLYWOOD STUDIO SYSTEM BY NANCY COPELAND HALBGEWACHS B.A., Sociology, University of Kansas, 1962 M.A., Sociology, University of Kansas, 1966 DISSERTATION Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Sociology The University of New Mexico Albuquerque, New Mexico December, 2011 ii DEDICATION In memory of My uncle, Leonard Preston Fox who served with General Dwight D. Eisenhower during World War II and his wife, my Aunt Bonnie, who visited us while he was overseas. My friend, Dorothy L. Miller who as a Red Cross worker was responsible for one of the camps that served those released from one of the death camps at the end of the war.
    [Show full text]