DOCSLIB.ORG

Examining the Emotional Experiences of Canadian Servicewomen During the Second World War

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Examining the Emotional Experiences of Canadian Servicewomen During the Second World War “OH! IT’S ALL ONE BIG HAPPY TIME”: EXAMINING THE EMOTIONAL EXPERIENCES OF CANADIAN SERVICEWOMEN DURING THE SECOND WORLD WAR DANICA RENKE Bachelor of Arts, University of Lethbridge, 2017 A thesis submitted in partial fulfilment of the requirements for the degree of MASTER OF ARTS in HISTORY Department of History University of Lethbridge LETHBRIDGE, ALBERTA, CANADA © Danica Renke, 2019 “OH! IT’S ALL ONE BIG HAPPY TIME”: EXAMINING THE EMOTIONAL EXPERIENCES OF CANADIAN SERVICEWOMEN DURING THE SECOND WORLD WAR DANICA RENKE Date of Defence: August 29, 2019 Dr. Amy Shaw Associate Professor Ph.D. Thesis Supervisor Dr. Lynn Kennedy Associate Professor Ph.D. Thesis Examination Committee Member Dr. Kristine Alexander Associate Professor Ph.D. Thesis Examination Committee Member Dr. Christopher Burton Associate Professor Ph.D. Chair, Thesis Examination Committee Abstract This thesis explores the emotional experiences of Canadian servicewomen during the Second World War and their reactions to service life. Almost two years after entering the war, the Canadian government concluded that enlisting women in the military freed up more men to fight while allowing the services to maintain regular operations. As women moved into these traditionally male roles, the government and military tired to direct them in how they should act and feel while in service. This was demonstrated in propaganda and popular media, such as newspapers, that depicted the lives of servicewomen. In response, this thesis considers how servicewomen fit or broke with these emotional standards set out for them, all while in the context of trying to maintain morale. iii Acknowledgements First, I would like to thank my committee, Dr. Amy Shaw, Dr. Lynn Kennedy, and Dr. Kristine Alexander, for providing me with valuable feedback and guidance. Their steady encouragement made this project seem realistic at times when it felt very half-formed. A thank you must be given to the staff at Library and Archives Canada and the Canadian War Museum for their patience and kindness in helping me find the sources that became the foundations of this project. To my friends, thank you for being there for me and understanding when I disappeared for longer than normal. Thank you for your kind words, laughter, and baking when I needed them the most. I am very blessed to have you all. To my family, especially my mother, thank you for never failing to pick up the phone and talk me though the good and hard times during this process. Without your support I do not think I would have made it these last two years. I loaf you and am forever grateful that you are in my life. Thank you to our dogs, Lando and Heinz, for always being happy to see me. Finally, I want to dedicate this thesis to my grandmother, Adeline Ziegenhagel, who first showed me the value of history and always believed in me no matter what. iv Table of Contents Introduction 1 Chapter 1: Targeting Women’s Emotions on an Official Level 25 Chapter 2: Positive Emotions 68 Chapter 3: Negative Emotions 104 Conclusion 135 References 141 v Introduction “On Wednesday, the 18 of November, civilian Lamb offered herself unwillingly and willingly, willy nilly, to the C.W.A.C…I’ve never known so much misery.”1 These words of Molly Lamb Bobak, considered by the Canadian government as Canada’s first female war artist, capture the mixed emotions of women who entered one of the Canadian armed forces that opened to them during the Second World War. On the tenth of September 1939, Canada officially entered the War and many new opportunities opened up for women across Canada. Women found themselves entering previously male-dominated work spaces as the need for men to serve overseas grew. Initially, the work that was offered to women was similar to that in the First World War, such as jobs in production factories or the traditional female role of nursing. It soon became apparent, however, that allowing women in the military to cover positions that were similar to those they were already doing outside the services, such as secretarial work, would also release many more able-bodied men to fight overseas. To this end, it is estimated that around 50 000, mostly young, women joined one of Canada’s armed forces during the Second World War.2 Many of those women, like Molly Lamb Bobak, felt mixed emotions about their time in service, captured in their personal diaries and letters. Historians have focused on examining the changing roles of women and the meaning and maintenance of femininity in Canada’s wartime society, but they have largely neglected how women viewed and recorded their own experiences. For example, research on propaganda and marketing aimed at women during this time period 1 Molly Lamb Bobak, “Girl Takes Drastic Step,” November 22, 1942, W110278: The Personal War Records of Private Lamb, M., 1942–45, R5336-20-1-E, Library and Archives Canada. 2 “Canada Remembers Women at War,” Veterans Affairs Canada, https://www.veterans.gc.ca/pdf/cr/pi- sheets/women.pdf, 2. 1 demonstrates some of the struggles the government and wider Canadian society faced in allowing women into male-centered spaces while attempting to maintain previous standards of femininity. What this research does not consider is whether or not women chose to conform to these standards.3 It also does not consider how women were responding to the war or their place within it, including how servicewomen reacted to entering a previously male dominated sphere. This study specifically seeks to examine the emotional expressions of servicewomen because they found themselves moving into military roles that had never been opened up to women, unlike some areas of the civilian workforce. Studying their diaries and letters provides a means to understand if their experiences fit with emotional narratives presented in propaganda and media coverage that demonstrated how servicewomen should be acting. The government used and influenced these types of sources in order to try and have people behave in certain ways, especially ways that helped strengthen morale. Because of this type of content, these sources provide good insight into how the government expected servicewomen to behave as they entered the military. Additionally, this thesis will show that servicewomen were aware of what was emotionally required of them, and they actively worked to maintain these emotional standards, believing that keeping up the morale of themselves and those around them was of utmost importance for the success of the war effort. By examining servicewomen’s diaries and letters it is possible to demonstrate that even though many of the emotions and opportunities promised to women became a reality, such as overseas 3 Ruth Roach Pierson, “They’re Still Women After All”: The Second World War and Canadian Womanhood (Toronto: McClelland and Steward, 1986), 133. Here she is referring to domesticity, particularly what is seen as the naturalized position of women within the home, rather than the workplace public sphere. 2 work, only some of them were recorded by women with the same level of importance as had been placed on them in propaganda and media. Examining the effort to influence women’s emotions through the media, in propaganda posters, or newspapers, sheds light on how the government thought women should be feeling about their service, and what constituted “correct” displays of emotion. “Correct” displays of emotion in this instance will refer to women responding emotionally to their lives in ways that were seen as desirable for keeping up morale and not harming the war effort. As sociologist Arlie Russell Hochschild argued in 1979, society can try and control emotions and their expression, and people living within that society both perform “emotion work” and “feeling rules.” This analysis suggests that emotions can be socially learned by creating regimes that construct and direct rules and constraints.4 These regimes consist of people actively altering the “degree or quality of an emotion or feeling,” trying to fit to the expected guidelines of how they think they should be feeling and attempting to conform with social conventions already in place.5 In this way, servicewomen tried to “fit” their emotional displays with what was seen as correct for them during their time in the services. For example, an official press release for the Royal Canadian Air Force Women’s Division (RCAF WD) noted that “they take the orders happily, for throughout the service there is a feeling of oneness and espirit de corps, of working with and for one another, and the Air Force, that cannot be denied.”6 It 4 See here William Reddy’s notion of “emotional regimes” in The Navigation of Feeling: A Framework for the History of Emotions (Cambridge: Cambridge University Press, 2001), xiii. 5 Arlie Russell Hochschild, “Emotion Work, Feeling Rules, and Social Structure,” American Journal of Sociology 83, no. 3 (Nov. 1979): 561-4. The Managed Heart: Commercialization of Human Feeling (Berkeley: University of California Press, 1983). 6 Royal Canadian Air Force, “The Women’s Division” Article No. 4, Library and Archives Canada, 181.009 D87 box 40. 3 was correct for women to feel happy with their servicewomen position, moreover, it was expected. An examination of their letters and diaries is a useful means of examining how sentiments like these were expressed in the words of women themselves. It also shows when, why, and how they might have deviated from these correct displays of emotion, and how they reacted to having “incorrect” emotional responses. Because the maintenance of support of war, through high morale, is perhaps the most important emotional focus of the government and military in wartime, morale will be a key focus of this thesis.
Load more

Recommended publications
  • Communism and the Portrayal of the Working Class at the National Film Board of Canada, 1939-1946
    University of Calgary PRISM: University of Calgary's Digital Repository University of Calgary Press University of Calgary Press Open Access Books 2007 Filming politics: communism and the portrayal of the working class at the National Film Board of Canada, 1939-1946 Khouri, Malek University of Calgary Press Khouri, M. "Filming politics: communism and the portrayal of the working class at the National Film Board of Canada, 1939-1946". Series: Cinemas off centre series; 1912-3094: No. 1. University of Calgary Press, Calgary, Alberta, 2007. http://hdl.handle.net/1880/49340 book http://creativecommons.org/licenses/by-nc-nd/3.0/ Attribution Non-Commercial No Derivatives 3.0 Unported Downloaded from PRISM: https://prism.ucalgary.ca University of Calgary Press www.uofcpress.com FILMING POLITICS: COMMUNISM AND THE PORTRAYAL OF THE WORKING CLASS AT THE NATIONAL FILM BOARD OF CANADA, 1939–46 by Malek Khouri ISBN 978-1-55238-670-5 THIS BOOK IS AN OPEN ACCESS E-BOOK. It is an electronic version of a book that can be purchased in physical form through any bookseller or on-line retailer, or from our distributors. Please support this open access publication by requesting that your university purchase a print copy of this book, or by purchasing a copy yourself. If you have any questions, please contact us at [email protected] Cover Art: The artwork on the cover of this book is not open access and falls under traditional copyright provisions; it cannot be reproduced in any way without written permission of the artists and their agents. The cover can be displayed as a complete cover image for the purposes of publicizing this work, but the artwork cannot be extracted from the context of the cover of this specific work without breaching the artist’s copyright.
    [Show full text]
  • NATIONAL FILM BOARD of CANADA FEATURED at Moma
    The Museum off Modern Art 50th Anniversary NO. 16 ID FOR IMMEDIATE RELEASE March 3, 1981 DOCUMENTARY FILMS FROM THE NATIONAL FILM BOARD OF CANADA FEATURED AT MoMA NATIONAL FILM BOARD OF CANADA: A RETROSPECTIVE is a three-part tribute presented by The Museum of Modern Art in recog­ nition of NFBC's 41 years Of exceptional filmmaking. PART TWO: DOCUMENTARY FILMS, running from March 26 through May 12 in the Museum's Roy and Niuta Titus Auditorium, will trace the develop­ ment of the documentary form at NFBC, and will be highlighted by a selection of some of the finest films directed by Donald Brittain, whose work has won wide acclaim and numerous awards. PART TWO: DOCUMENTARY will get off to an auspicious start with twelve of Donald Brittain's powerful and unconventional portraits of exceptional individuals. Best known in this country for "Volcano: An Inquiry Into The Life and Death of Malcolm Lowry" (1976), Brittain brings his personal stamp of creative interpretation to such subjects as America's love affair with the automobile in "Henry Ford's America" (1976) ; the flamboyant Lord Thompson of Fleet Street (the newspaper baron who just sold the cornerstone of his empire, The London Times) in "Never A Backward Step" (1966); Norman Bethune, the Canadian poet/ doctor/revolutionary who became a great hero in China when he marched with Mao ("Bethune" 1964); and the phenomenal media hysteria sur­ rounding the famous quintuplets in "The Diorme Years" (1979) . "Memo­ randum" (1965) accompanies a Jewish glazier from Tcronto when he takes his son back to the concentration camp where he was interned, an emotion­ al and historical pilgrimage of strong impact and sensitivity.
    [Show full text]
  • Canadian Masculinity in the NFB's Second World War Series
    Sheridan College SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence Faculty Books School of Communication and Literary Studies 10-2011 Who’s on the Home Front? Canadian Masculinity in the NFB’s Second World War Series “Canada Carries On” Michael Brendan Baker Sheridan College, [email protected] Follow this and additional works at: https://source.sheridancollege.ca/fhass_comm_book Part of the Film and Media Studies Commons SOURCE Citation Baker, Michael Brendan, "Who’s on the Home Front? Canadian Masculinity in the NFB’s Second World War Series “Canada Carries On”" (2011). Faculty Books. 1. https://source.sheridancollege.ca/fhass_comm_book/1 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Book Chapter is brought to you for free and open access by the School of Communication and Literary Studies at SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence. It has been accepted for inclusion in Faculty Books by an authorized administrator of SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence. For more information, please contact [email protected]. ramsay (d)_x 13/06/11 9:18 AM Page 39 CHAPTER 3 Who’s on the Home Front? Canadian Masculinity in the NFB’s Second World War Series “Canada Carries On” MICHAEL BRENDAN BAKER It is widely accepted, and rightfully so, that the prestige of Canada’s docu- mentary tradition is wedded to the success of its Second World War–era film series, Canada Carries On. John Grierson, founding commissioner of the National Film Board of Canada, and Stuart Legg, the executive producer of the series (and a British documentarian who had worked with Grierson at the General Post Office Film Unit during the 1930s), shaped Canada Carries On in such a way that it became the signpost for Canadian documentaries of the war and immediate postwar eras.
    [Show full text]
  • Filming Politics: Communism and the Portrayal of the Working Class at the National Film Board of Canada, 1939-1946
    University of Calgary PRISM: University of Calgary's Digital Repository University of Calgary Press University of Calgary Press Open Access Books 2007 Filming politics: communism and the portrayal of the working class at the National Film Board of Canada, 1939-1946 Khouri, Malek University of Calgary Press Khouri, M. "Filming politics: communism and the portrayal of the working class at the National Film Board of Canada, 1939-1946". Series: Cinemas off centre series; 1912-3094: No. 1. University of Calgary Press, Calgary, Alberta, 2007. http://hdl.handle.net/1880/49340 book http://creativecommons.org/licenses/by-nc-nd/3.0/ Attribution Non-Commercial No Derivatives 3.0 Unported Downloaded from PRISM: https://prism.ucalgary.ca University of Calgary Press www.uofcpress.com FILMING POLITICS: COMMUNISM AND THE PORTRAYAL OF THE WORKING CLASS AT THE NATIONAL FILM BOARD OF CANADA, 1939–46 by Malek Khouri ISBN 978-1-55238-670-5 THIS BOOK IS AN OPEN ACCESS E-BOOK. It is an electronic version of a book that can be purchased in physical form through any bookseller or on-line retailer, or from our distributors. Please support this open access publication by requesting that your university purchase a print copy of this book, or by purchasing a copy yourself. If you have any questions, please contact us at [email protected] Cover Art: The artwork on the cover of this book is not open access and falls under traditional copyright provisions; it cannot be reproduced in any way without written permission of the artists and their agents. The cover can be displayed as a complete cover image for the purposes of publicizing this work, but the artwork cannot be extracted from the context of the cover of this specific work without breaching the artist’s copyright.
    [Show full text]
  • The Politics of Propaganda
    john grierson the politics of propaganda by gary evans Stuart Legg and J o hn Grierson were playing for high stakes again st Naz i propaganda chief Goebbels If Johll Griersun and th e documentary film are nearly svnony­ operating "in the quiet light of ordinary humanism." mous in th e lexicon of film, few people realize how complex He bel,ieved the task of propaganda was to speak intimately and totalitarian were th e politics of propaganda which were and quietly about real things and real people. For the rest of intertwined in his philosophl'. In this article we shall examine his life he reiterated dogmatically the theme of propaganda, some major aspects of his thought and try to demonstrate how service and community: "We can, by propaganda, widen the his philosoph1' was applied in th e wartime context at the National Film Board of Canada. horizons of the schoolroom and give to every individual, each in his place and work, a living conception of the community When Grierson was a graduate student at the University of which he has the privilege to serve." Grierson's propaganda Chicago from 1924-27, the core of his philosophy crystallized crusade though secular, had its roots at least partly in his as he rejected Walter Lippmann's pessimistic belief that in this Calvinist upbringing. " [ derive my authority from Moses" century the few had to do the thinking for the many. he would say late in life . This attitude also allowed him to Lippmann's pessimism stemmed from a belief that there was avoid partisan politics and to protect the documentary move­ neither time nor adequate information for the citizens to make ment from partisan attack.
    [Show full text]
  • The Canadian Army Film Unit in the Second World War
    Canadian Military History Volume 14 Issue 3 Article 3 2005 Shooting the War: The Canadian Army Film Unit in the Second World War Sarah Klotz Library and Archives Canada Follow this and additional works at: https://scholars.wlu.ca/cmh Part of the Military History Commons Recommended Citation Klotz, Sarah "Shooting the War: The Canadian Army Film Unit in the Second World War." Canadian Military History 14, 3 (2005) This Article is brought to you for free and open access by Scholars Commons @ Laurier. It has been accepted for inclusion in Canadian Military History by an authorized editor of Scholars Commons @ Laurier. For more information, please contact [email protected]. Klotz: Shooting the War Shooting the War The Canadian Army Film Unit in the Second World War Sarah Klotz “The exploits and adventures of these tripod toters, both in and out of actual combat, will no doubt enliven the pages of more than one book which will be written some day about World War II.”1 Jon Farrell, Canadian Geographic Journal, June 1945 ery little has been written about the Canadian Most of the existing scholarship exploring VArmy Film Unit (CAFU) since the end of Canadian film and the Second World War focuses the Second World War, despite Jon Farrell’s on the NFB and John Grierson, the father of the postulation. There have been a few short documentary in Canada and the NFB’s first film newspaper articles related to the Film Unit and commissioner.4 The historiography suggests the D-Day footage that made it famous, but there that the NFB was, for all practical purposes, the has been no scholarly study by either military main film institution creating Canadian motion or film historians.2 The purpose of the CAFU pictures.
    [Show full text]
  • British Columbia School Children and the Second World War
    "THE WAR WAS A VERY VIVID PART OF MY LIFE": BRITISH COLUMBIA SCHOOL CHILDREN AND THE SECOND WORLD WAR. By EMILIE L. MONTGOMERY B.Ed., The University of British Columbia, 1984 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Centre for the Study of Curriculum and Instruction) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA October 1991 ©Emilie L. Montgomery In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of tducdrar\ CtAvy!r,A luw $ ImW The University of British Columbia Vancouver, Canada DE-6 (2/88) ABSTRACT This thesis examines the influence of the Second World War on the lives of British,Columbia school children. It employs a variety of primary and secondary sources, including interviews with adults who, during 1939-1945, attended school in British Columbia. War time news and propaganda through such means as newspaper, movies, newsreels and radio broadcasts permeated children's lives. War influenced the whole school curriculum and especially led to changes in Social Studies, Physical Education and Industrial Arts.
    [Show full text]
  • MOTION PICTURE PRODUCTION in BRITISH COLUMBIA, 1941-1965 by Dennis J
    MOTION PICTURE PRODUCTION IN BRITISH COLUMBIA, 1941-1965 by Dennis J. Duffy Present-day film production in British Columbia has attracted a lot of attention. Local filmmaking is not a new phenomenon, however, but the continuation of an activity which has gone on in the province since the early part of this century. The west coast has had an eventful filmmaking heritage -- perhaps more so than any other English-speaking region in Canada. This heritage has been largely ignored until recent years, when the revitalization of the Canadian film industry has sparked interest in our new cinema and in its historical precedents. The early development of filmmaking in British Columbia took place largely in isolation from the rest of Canada. Cameramen first came to film the province for the sake of its novel and photogenic landscapes, and to promote immigration and tourism.1 The first incursion of Hollywood film crews, in the 1920s, was also drawn primarily by the varied scenery available for outdoor adventure pictures. In the 1930s, they set up a branch plant here and made features of dubious quality, taking advantage of Canada's membership in the British Empire to exploit the British quota restriction on imported films. Meanwhile, domestic film production developed separately, usually growing from existing photographic or advertising concerns. British Columbia's first locally- based commercial cinematographer was A.D. "Cowboy" Kean, who got his start in movies filming the Vancouver Exhibition and the departure of troops for Europe during Copyright © 1986 by Dennis J. Duffy. This essay originally appeared in Camera West: British Columbia on Film, 1941-1965 (Victoria: Provincial Archives of British Columbia, 1986).
    [Show full text]
  • Translation Quality Assessment
    Voices and Silences: Exploring English and French Versions at the National Film Board of Canada, 1939-1974 Christine York Thesis submitted to the Faculty of Graduate and Postdoctoral Studies in partial fulfillment of the requirements for the Doctorate of Philosophy degree in Translation Studies School of Translation and Interpretation University of Ottawa © Christine York, Ottawa, Canada, 2014 Table of Contents Chapter One: Understanding NFB versions as a site of competing voices ................................................... 1 1.1 Interwoven threads of English and French production ........................................................................ 3 1.2 Defining a corpus ................................................................................................................................ 6 1.3 Defining concepts: Beyond source and target text ............................................................................ 11 1.4 Literature review: NFB ..................................................................................................................... 19 1.5 Literature review: Translation studies ............................................................................................... 25 1.6 Considering multiple voices .............................................................................................................. 32 1.6.1 Voice-over in film studies and audiovisual translation .................................................................. 33 1.6.2 Voice of the text ............................................................................................................................
    [Show full text]
  • John Grierson the Canadian Connection
    john grierson the canadian connection by Doug Herrick There was a man who felt that fIlms should educate and enlighten. His name was John Grierson, and the years he spent in Canada have been felt by every filmmaker working in the country. At the end of October, a retrospective of fIlms, made during the war when Grierson headed up the National Film Board will be shown in Boston. Doug Herrick, the man behind the screenings, has gathered together the following background on the man and his career. 28jCinema Canada In 1924, a ship loaded with thirty thousand cases of Scotch Grierson is famous for his seemingly anti-aesthetic pro­ whiskey left Glasgow, destined for the thirsty shores of Pro­ nouncements on fUm . Indeed , he chose to make a career out hibition America. In addition to its illegal cargo, the vessel of the medium not because he was intrigued by its artistic also carried a 26-year-old passenger named John Grierson. or formal possibilitites, but because of its social and political Grierson was heading for the University of Chicago on a possibilities. While studying in the United States, he became Rockefeller Foundation Fellowship, and the scope of his convinced that, of all the mass media, fUm possessed the study would be nothing less than American culture itself. greatest capacity to educate and influence large numbers of During his four-year visit, he would come in contact with the people. But he also realized that to find support and sponsor­ flims of Robert Flaherty and Eisenstein. While reviewing ship for his ideas about this expensive medium, he would have Flaherty's Moana in 1926, Grierson would invent a word to go outside the motion picture industry.
    [Show full text]
  • A Case Study at the Pacific Cinematheque Archive
    MORE PRODUCT, LESS PROCESS IN FILM COLLECTIONS: A CASE STUDY AT THE PACIFIC CINEMATHEQUE ARCHIVE by Analiese Oetting Bachelor of Arts, Dominican University, 2016 A thesis presented to Ryerson University in partial fulfillment of the requirements for the degree of Master of Arts in the program of Film + Photography Preservation and Collections Management Toronto, Ontario, Canada © Analiese Oetting 2019 AUTHOR'S DECLARATION FOR ELECTRONIC SUBMISSION OF A THESIS I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I authorize Ryerson University to lend this thesis to other institutions or individuals for the purpose of scholarly research. I further authorize Ryerson University to reproduce this thesis by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. I understand that my thesis may be made electronically available to the public. ii Abstract More Product, Less Process in Film Collections: A case study at the Pacific Cinematheque Archive Master of Arts, 2019 Analiese Oetting Film + Photography Preservation and Collections Management Ryerson University This thesis is an applied case study, wherein a donation of materials was assessed at the Pacific Cinematheque Archive between January – June 2019. The archive has struggled to process their backlog due to a strain on resources—an issue that is prevalent in the archival profession, and particularly in small institutions. The objective was to apply broad principles from Mark A. Greene and Dennis Meissner’s 2005 paper “More Product, Less Process: Revamping Traditional Archival Processing,” aimed at large paper and manuscript collections, to managing backlog at the Pacific Cinematheque Archive in order to help establish a minimal processing workflow that would allow for faster access to materials in the future.
    [Show full text]
  • The Second World War As a National Experience
    THE SECOND WORLD WAR AS A NATIONAL EXPERIENCE Editor: Sidney Aster THE CANADIAN COMMITTEE FOR THE HISTORY OF THE SECOND WORLD WAR THE SECOND WORLD WAR AS A NATIONAL EXPERIENCE Editor: Sidney Aster The Canadian Committee for the History of the Second World War, Ottawa, 1981 “War is strong life; it is life in extremis.” Williams James, The Moral Equivalent of War ACKNOWLEDGEMENTS The contributors wish to express jointly their gratitude to copyright holders for permission to use copyright materials, and in some cases to various institutions for assistance, which made research possible. The editor and contributors are very grateful to the Department of National Defence, which arranged a meeting of the Canadian Committee for the History of the Second World War on November 14-16, 1979 where these essays were first discussed. The Translation Section, Department of the Secretary of State kindly offered translation facilities. THE SECOND WORLD WAR AS A NATIONAL EXPERIENCE CONTENTS Acknowledgements CHAP NO. PAGE NO. Introduction SIDNEY ASTER 1 1 War as a National Experience THEODORE ROPP 5 2 The Second World War as a National Experience: Canada C.P. STACEY 17 3 A curious Lack of Proportion: Canadian Business and the War ROBERT BOTHWELL 25 4 Britain and the Politics of Social Patriotism PAUL ADDISON 39 5 Politics and the War: Aspects of the Canadian National Experience JOHN ENGLISH 53 6 The Yugoslav National Experience PHYLLIS AUTY 67 7 Politics and Culture: The French Canadians and the Second World War RICHARD JONES 81 8 Solidarity at Home and Abroad: The Norwegian Experience of World War Two OLAV RISTE 91 9 Coping With a War: The Experience of the Canadian Department of External Affairs DON PAGE 105 10 The Limits of Tradition: American Leadership in World War Two Reconsidered MAURICE MATLOFF 125 CHAP NO.
    [Show full text]