Canadian Patriotic Fund poster featuring a First Nations pictorial landscape. A Native man, Moo-che-we-in-es, is prominently in the foreground holding a letter full of obscure symbols in one hand and money in the other. Below the money his letter is translated as, "Onion Lake Indian Reserve, Saskatchewan, Dec. 4th, 1916 Sir Herbert B. Ames, Ottawa Greetings: You asked me to tell you a story about how it came into my mind to pay a little towards 'War Money.' I heard there was a big war going on over there and I feel like I want to help you some way and the best I can do is to send a little money for I can't go myself as I am nearly blind. This is to show you I like to help you. I am an Indian. I heard that other Indians were going to give 25c. each out of their treaty money. I give $1.50 out of money from the Government for beef I sell the agency. I am about 50 years old and my wife and two sons are living with me and my son's wife and her child. That is the way I make up that $1.50 - - 25c. each for six. I shake hands to you, Moo-che-we-in-es". This poster is a rare example of Natives in World War I propaganda posters. The audience that the poster was directed towards was not any First Nations people, instead the image of a Native man giving money for the Canadian Patriotic Fund was meant to inspire donations by shaming white males. The poster significantly is based on an actual event. However, the portrayal of Moocheweines is not based on reality, but is seeped in stereotypical imagery and language. The title of the poster, "MOO-CHE-WE-IN-ES. PALE FACE, MY SKIN IS DARK BUT MY HEART IS WHITE. FOR I ALSO GIVE TO CANADIAN PATRIOTIC FUND," were not what was said by Moocheweines. Also, it is important to note that Moocheweines sent the letter to the Canadian Patriotic Fund in legible English and not as he is portrayed holding a fictional letter of gibberish.
Imperial War Museum London Lambeth Road London SE1 6HZ
Howell Lithographic, Hamilton Canadian Patriotic Fund
This image is used under non-commercial licence. The media for this item are free to reuse for non-commercial purposes under the IWM Non Commercial Licence. © IWM (Art.IWM PST 12495)
Poster - paper medium: lithograph Dimensions Support: Height 1026 mm, Width 695 mm Mount: Height 556 mm, Width 783 mm
The American poster depicts, in the foreground, two silhouetted figures: one, a German soldier, adorned with a spiked helmet and maintaining an enormous mustache and the other, an entangled, bed-raggled female being drug to her potential sexual demise. The backsplash is clearly the remains of a burning village in vivid red in contrast to an eerie green sky. This poster’s simplistic nature represents the brutality of the German forces while appealing the empathetic viewer with the words: “Remember Belgium.” In addition to this emotional implorement, the words “Buy Bonds Liberty Fourth Loan” appear underneath. The poster is certainly intended for homefront viewers, displaying the urgency of the cause of war: that the Germans will do the very same to America if given the opportunity. The image uses the female victim as a way of both instilling such fears into a feminine audience and appealing to the “masculine” sense of honor. In addition, it is necessary to especially stress the brutality of the “Huns” due to the lack of immediacy of the war to an American audience.
McFarlin Library, Department of Special Collections and University Archives, University of Tulsa. 2933 E. 6th St. Tulsa, Oklahoma 74104-3123
The United States Prtg. and Litho. Co., New York.
The Minute Men of To-Day Are Going to Plattsburg
This U.S. Military Recruitment poster depicts a Revolutionary War “Minuteman” standing side-by-side with a WWI soldier, drawing a natural parallel between the two, who are almost identical in stature and facial features. Cannons, tents, and what can be assumed to be a U.S. flag comprise the background. The poster reads “The Minute Men of To-Day Are Going to Plattsburg,” in hopes of inciting eligible men to attend the National Army’s Officer Candidate School that had been recently erected the year the poster was created (1917). The poster appeals to the natural aspirations of young and middle-aged men to be revered and go down in history as the Minutemen of the Revolutionary War did. By comparing soldiers going off to training camp with the Minutemen, the poster invokes in its viewers the idea that they are directly defending the liberties of their fellow countrymen, inspiring a sense of desire to have that respect in those who have not “answered the call” and pride in those who have. Paralleling those who volunteer to go to the training camp with Minutemen has the added bonus of implying that “anyone with a strong enough passion for their country and its tenets can do it,” as most of the original Minutemen were volunteer fighters who were untrained in the ways of combat.
An American poster by the United States Food Administration directed at the common people at home not directly participating in the war. However, as indicated in this poster, the common people did have the ability to impact the war by not wasting food. The monochromatic poster depicts a wounded, dying soldier in the arms of another soldier who appears to be crying out in agony on the battlefield. The crying soldier even appears a bit stunned at the reality of the event when looking close at him. Compared to the two soldiers who are strongly detailed in their expressions and physique, the background is far more ambiguous with much less detail given to it, though the men appear to be surrounded by gunfire. The poster directs nearly all of its attention on the two soldiers and the emotionality of the scene depicted. Along with the emotional pull, the poster also pleads that it's readers to be conservative with their food intake including the gripping statement that "You will shorten the war." Though not perfectly representative of the true horrors of The Great War, this poster does a better job than most at capturing the trauma faced every day by soldiers on the field. It might not be the most eye-catching poster out there, but it has a very strong emotional pull and a clear message that combined should have enticed people to be more thoughtful with how they utilized their food.
This poster has a simple color scheme of red and off-white. The words "Help the Red Cross" are written in capital letters and in a bold font across the top of the poster. Below the message is a nurse with her right arm raised, as if she is signaling for help. In her other arm is an injured soldier with a bandage wrapped around his head. The color scheme, facial expressions, and actions of the nurse all convey a message of urgency, as if to tell the viewer of the poster that they must jump in and help right away.
The poster is a piece of propaganda relating to the army during World War I. The posters displays several soldiers happily marching side by side, holding their weapons. Each of the soldiers is wearing the same outfit, shirts and a kilt, and holding a rifle upright. The country of origin is Britain, and the poster serves as a form of persuasion for young British men looking to join the war force. Since the main audience is young British men, the poster excludes such audiences such as older men, and women of all ages. It attempts to read the audience because it shows soldiers happily marching, instead of displaying the true, negative affects of war on men all over the world.
General information about the McFarlin Library, Department of Special Collections and University Archives, University of Tulsa is available at www.utulsa.edu/libraries/mcfarlin/special-collections.aspx
Library of Congress HTML http://courses.utulsa.edu/wwi-exhibit/admin/items/add
An American military recruitment poster, which evokes nationalism and attempts to bolster recruitment numbers within the African American community. The poster presents an image of African American soldiers, proudly displaying the flag of the United States, engaging in battle with the German military, while an enlarged image of President Abraham Lincoln looks on. Framing this image is the title “True Sons of Freedom” and the quotes “Liberty And Freedom Shall Not Parish” and “COLORED MEN The First Americans Who Planted Our Flag on the Firing Line.” This poster and the imagery within attempts to appeal to the African American community as it harkens back to the Federal victory in the American Civil War, which secured an end to slavery within the borders of the United States. With German soldiers resembling stereotypical images of Confederate men and African American soldiers standing above said men, this image promotes the idea that the battlefields of World War I were a location in which all men were truly equal, and one in which African Americans could put an end to segregation and Jim Crow. The concepts presented in this poster go beyond simply evoking African American nationalism and convincing young black men to join the war effort, they attempt to break down social stereotypes and contribute to a much larger conversation pertaining to equal rights for African Americans.
The poster states “Women! Help America’s Sons Win the War” and depicts a grandmotherly like woman with outstretched arms and a smiling face standing in front of a representation of an American flag and a war scene. This scene depicts sinking ships, dead and wounded soldiers and American troops carrying a flag marching into the battle. The bottom of the poster asks the viewer to “Buy U.S. Government Bonds, 2nd Liberty Loan of 1917”. The poster is designed to appeal to women on the home front based on the gender role of motherhood and attempts to elicit an emotional response that would lead to the purchase of war bonds. The central figure is portrayed as one of affluence, she wears nice clothes, has jewelry and looks very fresh, this depicts American women as being safe and, in a position, to help their sons financially.
The poster is of a single beige color, emblazoned with the text, "I summon you to the comradeship," and, "Answer the Red Cross Christmas Roll Call for Universal Membership." The words, taken from a quote in a speech given after a surprise appearance at a Red Cross parade during their "Second Fund Drive" in May, 1918, are spoken by president Woodrow Wilson, whose gray sketched profile looms in the background, staring without emotion at the viewer. Beneath him is his signature and the small, red logo of the Red Cross. The image of one's president looking at and speaking directly to them, asking them to donate to the Red Cross, is simple and without flair. The promise to join the "comradeship" is enticing and, indeed, the largest part of the text, but the persuasiveness of the poster seems to lie in Wilson's gaunt image, the idea being that the American viewer will feel compelled to obey their president. There is little symbolism or rhetorical strategy at work in the poster; it is a simple request from the president and a promise of enrollment in the "comradeship" and join the Red Cross.
This poster displays a beautiful gauzy young woman, dressed in the fashion of Lady Liberty in a low cut dress. Instead of a torch, she holds a laurel wreath, crowning several names on an Honor Roll which scrolls down beside her to the right. Behind her, the American flag gently rests as a patriotic background to the scene. Written along the bottom of the poster in large blue letters are the words "Victory Liberty Loan". This poster evokes a sense of American togetherness and a reminder that the fifth installment of liberty loans will garner not only laurels but also the attention of a beautiful lady.
McFarlin Library, Department of Special Collections and University Archive, University of Tulsa. 2933 E. 6th St. Tulsa, Oklahoman 74104-3123
Join the brave throng that goes marching along
A poster created for the Parliamentary Recruiting Agency. In this poster, six young men smile in their uniforms above the text "Join the brave throng that goes marching along!" This rhyming phrase would likely stick in the memory of people long after they have passed by the poster. The men look very similar and represent an idealized version of the soldier. The poster does not have many details outside of these men's faces and does not depict even the men's entire bodies. The poster is focused on attracting men to the life they may lead if they join the war effort instead of calling them out for not joining the war, which is common in other war posters during this time. Through this method, the poster evokes a sort of masculine fantasy, in which men will look handsome and be happy if they join their fellow Briton. They will be worthy of being called "brave".
McFarlin Library, Department of Special Collections and University Archives, University of Tulsa. 2933 East 6th Street. Tulsa, Oklahoma 74104-3123
Inasmuch As Ye have Done It Unto One of the Least of These...
Red Cross poster featuring larger than life-size image of Jesus Christ on a classical blue background. Christ's head is haloed by the Red Cross symbol. In front of Christ is a European Gothic style Cathedral and in the foreground is a dim, hazy scene of a World War I no-man's land strewn with injured men. A Red Cross nurse is helping a man up from the grim battlefield. The text below is part of the Bible verse "Inasmuch As Ye have Done It Unto One of the Least of These" from Matthew 25:20. The viewer is meant to be inspired to support the Red Cross in helping strangers, particularly soldiers, as it is likened to helping Christ himself. The bottom text, "Help Your Red Cross" is an imperative to the audience to fulfill a Christian directive. The overlapping imagery and cause of Jesus Christ and the Red Cross through shared iconography are intended to put religious pressure on any non-donors viewing the poster.
Latham Litho. and Ptg. Co., Brooklyn, New York.
On les aura ! 2e Emprunt de la Défense Nationale. Souscrivez
A poster of a young French solider looking back to his assumed comrades, and calling "on les aura!" (We'll get them!). He is marching forward, with gun in hand, in what would be a westerly direction on paper, toward what can only be the war front. His face is dirty, and his uniform is worn, but he looks ready, even eager, to keep fighting. He is strong and ready to defend his country. Despite his obvious youth, the solider seems to represent a new ideal of masculinity, one based on war. Given that the poster was published in 1916, after the war had already stagnated, it is understandable that the French wanted to reinvigorate their people. The solider's generic uniform and commonplace features allowed viewers to envision themselves in the solider's position. Given the simple imagery and tagline of this poster, it could easily be assumed that it is a recruitment poster. However, the poster ends with, "2e Emprunt de la Défense Nationale. Souscrivez" (2nd National Defense Loan. Subscribe). There is no mystery. It is direct, simple, and plain in its method of attack. After viewing the heroic young soldier, passers-by would have felt as if their contribution would directly add to the outcome at the war.
McFarlin Library, Department of Special Collections and University Archives, University of Tulsa. 2933 E. 6th St. Tulsa, Oklahoma, 74104-3123
The idea of this poster is for the common man or woman back at home in the states to donate money to the war effort. The text says simply "Over the top for you." This is to show the common person at home that men across the sea are going over the top of the trenches to protect you and this nation, and the least thing the viewer could do for them is donate some money to help them out in some way. The only way to do that is by buying war bonds. It also brings a sense of patriotism in the mix by showing a huge American flag draped over the soldier going "over the top" for you at home. It is an appeal to what these men are giving up to go fight over there, and the audience should do all that they can do to help at home. The audience seems to be on the working class. The image is a little dark and shows the real hardship of the war. Work and hardships are normally connected to the working class, instead of the polished hero images many posters have. It would seem in most cases a poster directed at the upper class would include family traditions and not show the dark, hardships of life. But no matter who views, from different classes, the point gets across. It pulls at the views idea of patriotism with the American flag over the soldier. It also pulls at the views guilt when it says "Over the Top for You," because of that sense of the soldiers self sacrifice. The use of the man in the image also pulls at the viewer. For women, the image is meant to look very young, almost as to say this is your child going over the top. For men, the image is something that they are traditional supposed to be in society. Men were viewed to be willing to give up anything for the protection of their family and their country, and the man in this image is doing so. The key to this poster is the man. The look on his face and it appears he is almost shouting to the viewers to buy war bonds. He is also heroically carrying the American flag in battle. On a side note, a thing to notice is the American flag. Even though it seems he is in a battle zone, the flag is not torn or ripped in any way. The image seems to be saying we are still in hell over here but we are still united and we are still coming out strong and together through all of this.
United States. Dept. of the Treasury. Publicity Bureau.
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"The Greatest Mother in the World" is an American propaganda poster from 1918 that encouages women to join the American Red Cross. Pictured is a woman dressed in flowy, white garb, wearing a Red Cross nurse's hat and veil. Dressed in this clothing and looking thoughtfully off into the distance, the nurse holds a wounded soldier bundled up in a stretcher. In this position, the nurse and soldier mimic the famous statue, the Pieta. With a holy reverence, the nurse cradles the soldier like Mary cradled Jesus after he was taken down from the cross. Portraying the nurse as the Virgin Mary emphasizes the main point of this poster, that nursing is an honorable, bordering on holy, occupation. Behind the woman is the emblem of the Red Cross, and below her are the words "The Greatest Mother in the World," written in an elegant typeface on a gold plaque. The poster as a whole is very elegant and civilized, presenting nursing as a sacred profession. This propaganda poster makes an especially strong emotional appeal to women. Motherhood itself is an emotional topic, one that causes feelings of nostalgia and sentimentality. Calling a Red Cross nurse “the greatest mother in the world” plays to a woman’s sentimental desire to nurture and care for others. Painting the nurse as a modern day portrait of the Virgin Mary intensifies the emotional appeal. Most Christian mothers desire to emulate Mary, and this poster states that the best way to accomplish this is by serving wounded soldiers as a nurse. It would be extremely convincing to women across America. In its portrayal of the beauty of motherhood, "The Greatest Mother in the World" extends an emotional appeal to women who have a desire to directly help in the war effort while not entirely quitting their traditional female role. The nurse is a loving mother, full of the values and morals prized by tradition. At the same time, this poster presents a view of a woman outside of the home. In this poster traditional and modern ideas of womanhood meet and mesh together. Overall, "The Greatest Mother in the World" communicates to women that nursing is an admirable, sacred occupation that will allow them to play a holy part in the War without relinquishing their traditional role of motherhood.
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A British recruitment poster reading "Halt! Who Goes There? If you ARE a friend, join the British ranks and help the brave lads at the front." A lone soldier stands silhouetted against a smoky sky, and holds his rifle at the ready. The bright, somewhat minimalist design creates a dynamic scene for the viewer. This poster is aimed at the population of unenlisted men, and is meant to intimidate them into joining the British army. It implies that those who do not enlist are not friends of the British nation. The enigmatic portrayal and mildly defensive stance of the soldier , when paired with the aggressive exclamation of "HALT! Who goes there?" creates a powerful image. The viewer himself is the target of the soldier's mistrust and hostility, and feels uncomfortable with the implications. The poster wishes to use this discomfort as a catalyst to make its civilian viewer join up.
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The Minute Men of To-day are Going to Plattsburg
In "The Minute Men of To-day are Going to Plattsburg" the poster’s artist draws a definitive connection between the legendary patriots of the Revolutionary War and the recruits of WWI. The implication that war enlistment directly correlated with one’s civil responsibility would have elicited a motivation for young men to protect their traditions and tribes. This point is highlighted by the posturing of the characters in the poster. The soldiers appear as a blockade between the viewing public and the ambiguous, empty space depicted behind them. This positioning illustrates the soldier’s protection of American citizens from the unknown (or, international) space, which threatened to transform the pleasant livelihoods of the American public. Surprisingly, though not without cause, this poster makes little use of the rich colors generally associated with other posters created during the same era. The significance of these types of posters was placed on the physical text. According to scholar Meg Albrinck, a poster like this may “point to a gendering of location: men are there, in ‘the ranks,’ or (by inference) in the trenches, whereas women are here, in the crowd, or at home.” Investigation into the military training camps in Plattsburg, New York shows that the camps were home to the elite of the American military, but as John Garry Clifford has noted, were sometimes criticized as being “too exclusive to be democratic.” Despite the criticisms, one may see why the “Minute Man” poster adequately marketed a scion of American volunteers who were concerned with excellence, tradition, and high achievement.
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The poster, Blood or Bread, is depicted by two American soldiers in the trench; where one soldier is cradling his wounded comrade. The coloring is different than most posters from the Great War era, as this poster has many different shades of brown which show dimension, but still it is monochromatic. The standing soldier looks out on the cloud of gunfire, with a panicked face; the majority of his face is shadowed to contour the fatigue the war has taken its toll on him. This shirtless soldier has a strong and rigid body, though he is hunched over holding the fallen companion. The fallen soldier’s color is shaded by pallor in pigment which shows a tonality a couple of shades lighter. It is the reflection of the impending death of the wounded soldier with his face is bandaged from wounds of battle as well as a cut on his unprotected chest near his heart. The syntax of the poster is written as if in fragmented Morse Code, short succinct and to the point. “Others are giving their blood You will shorten the war- save life if you eat only what you need, and waste nothing.”
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This is an American propaganda poster that suggests purchasing liberty bonds is the way to choose and support the homeland over the enemy. The poster presents the image of a young woman carrying a child, fleeing a dark and shadowy figure- a Hun. This was a common way for Allied nations to depict the Germans, suggesting a barbaric and inhuman people. "Hun or Home?" the poster asks in large, bold letters at the top. Then, "Buy more liberty bonds." It is suggesting that if an American were to ignore the poster, they would be choosing the Hun over home. This poster would have appealed to an American audience immediately. There is very little text, and it is bold and in stark contrast to the yellow background. The Hun appears almost as a dark shadow, with very few human features. It is a demonized version of the enemy, and is quite frightening. The image itself is blurred, with rough and uneven edges on all the figures. There is very little color in the dark image, except for the red that is seen on the body of the child, the mother's cheeks, and on the hands of the Hun. There is a dark symbolism suggested with this use of color. Red, the color of blood and also the color commonly associated with anger and violence, seems to suggest the violence that the Hun either has or will inflict on the woman and the child. Such a suggestion would have been meant to inspire a will to help in whatever way possible. This image, like the text, is contrasted and bold against the background, and would have been capable of immediately drawing the attention of anyone passing by the poster. The image and text together make a strong case as to why you ought to purchase more liberty bonds. To do so is to choose the homeland, to choose the frightened woman and child over the dark, demonic-looking enemy.
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This poster plays off the militant sentiments of the time, where killing German soldiers was so strongly seen as a man's duty that it was comparable to putting bread on his family's table. "Putting just one German helmet in my kit" almost resembles the act of punching a timecard before leaving work for the day. Not only does the poster play off the public value of honest work, but it mimics the form of a religious motivational, with its simple, painted graphic and elegantly embellished text, completed by the use of a poem. In this way, a man's duty not only to his family but to his God is highlighted and subjected to the war effort. The contrast of the dutiful and pious sentiments in this poster against the actual realities of the war is jarring, especially in this day and age, where war is no longer a popular idea. It highlights the plain fact of just how innocent the civilian population was of what its young men were actually doing each day. They were told their sons were going to honor their families, serve their God, do their rightful duty, as if they were leaving for work on a Monday morning. Not until later did it become apparent that they weren't coming back.
McFarlin Library, Department of Special Collections and University Archives, University of Tulsa, 2933 E. 6th St. Tulsa, Oklahoma 74104-3123
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Remember! The Flag of Liberty. Support It!
An American government bonds poster depicting the purchase of government bonds as an aspect of patriotic duty. It presents a group of people, an interesting visual mix of immigrant and American images, in front of an American flag, with text that reads, "Remember! The Flag of Liberty. Support It! Buy U.S. Government Bonds." The poster appeals to a sense of patriotism by associating the purchase of bonds with loyalty to America and, implicitly, the neglect of purchasing bonds with betrayal of the American principle of liberty. The Americans presented in the image appear as strong and attractive men and women in the peak of their health. The image of the man in the foreground, is typical of traditional representations of masculinity: dark with broad shoulders, large hands, and strong facial features. The woman and child behind him emphasize his stance as a masculine leader and guardian figure. The poster's imperative, "Remember! The Flag of Liberty. Support It!" implies that the only way to remain loyal to the United States is to purchase government bonds, joining the ranks of the loyal, patriotic Americans on the poster. To neglect the demands of the poster would be to defy masculine duty, liberty and common patriots all over America.
Heywood Strasser and Voigt Litho. Co., New York
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A Victory Liberty Loan poster depicting a smiling American soldier holding enemy helmets, illuminated by a golden sunset. The text reads "And They Thought We Couldn't Fight. American Liberty Loans." This poster was designed to appeal to a young man's sense of adventure and victory. The image of a victorious young man, along with the text "And They Thought We Couldn't Fight," encourages men to join the war effort in an attempt to prove themselves to their country, to themselves, and to their enemies. The colors themselves are bright and warm, even inviting. They are used to ignore the pain and gloom of war, and focus on the warmth of success. The effectiveness of this poster depends on its ability to skim over the fact of combat. It goes directly to victory. Even the name of the loans, the "Victory Liberty Loan," gives only a sense of victory, with no sense of battle. An independent man can easily see himself in the place of this soldier, realizing the same ideal, dream-like image in his future.
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Shall We Be More Tender With Our Dollars...
On this poster reads the text, "Shall we be more tender with our dollars than with the lives of our sons? Buy a United States government bond of the 2nd Liberty Loan of 1917". Pictured are two young men, very similar in appearance, one in a Naval uniform and the other holding an American flag. The country of origin, as evidenced by the text, is the United States. The intended audience of this poster seems to be parents of soliders. Given the young age of the soliders, it is safe to assume that most had living parents. By presenting this image of two young men along with the accusation that a parent could even think of putting money before their son's safe return plays on the natural human emotion of guilt. Americans at this time felt an utter loss of control. There were young men dying in unheard of numbers in seemingly random and senseless ways and there was simply nothing the American people, even parents, could do to stop it. Parents especially would be looking for anything to grasp onto to feel some semblance of control or hope. The creator of this poster seems to have been well aware of this and probably knew just how effective this tactic would be in selling bonds.
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This poster features an avuncular Uncle Sam clasping a young woman on the back as she leads her male companion towards enlistment. The caption, "Here he is, Sir" is emblazoned underneath the image, and the entire poster is framed by the phrase "U.S. Navy: We need him and you too! Navy Recruiting Station." The image of a woman shaking Uncle Sam's hand as she leads her male friend/relative to enlist in the navy creates a powerfully gendered rhetoric of obligation and responsibility which targets both male and female viewers. The poster places responsibility for enlistment on American women as well as American men; the woman's role as an intermediary in the enlisting process is rewarded with a firm handshake and an avuncular pat on the back from Uncle Sam himself. If the woman in the image is a symbol for American femininity, the text beneath the message ("We need him, and you too!") is explicitly aimed at drawing women into the war effort by encouraging their "hims" to enlist. This poster also reaches out to male viewers through the aformentioned gendered rhetoric of shame. While the man in the poster is the picture of strapping American masculinity, he is belittled and rendered subservient within the context of the poster. Compared to the powerful, dynamic figure of Uncle Sam, the man in this poster seems very meek and humble; his hat is off, his posture is shifted slightly forward in supplication, and his arm is inextricably bound up in the dominating grip of the female figure, who herself is made subservient to Uncle Sam through his possessive gaze and grasp. The artwork and text objectify the male figure, casting him as a commodity which must be herded into patriotic service. The "Here he is" caption underlines the ignominy of the transaction, as the man is robbed of all agency in his enlistment. And while the female figure recieves a hearty thanks from Uncle Sam, the man in the poster is left out in the cold from the exchange. While the poster seems to be primarily aimed at female viewers, the message for men is clear: enlist now, before you suffer the shame of being dragged to the recruiting office by a more patriotic female relation.
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A WWI British recruitment poster. It depicts a hand holding a sword with the words, "Take up the sword of justice, JOIN NOW." This poster uses both the image of the sword and the words, "Take up the sword of justice", to portray military service as heroic in order to persuade young men to join the military. The sword here is especially important to the audience the poster is appealing to. This poster, aimed at a British audience, uses the sword in order to draw to mind images of England's chivalric past. This iconography, combined with the phrase, "Take up the sword of justice", frames WWI in a heroic light, making the conflict appear to be the sort of struggle found in the tales of King Arthur.
the Parliamentary Recruiting Committee, London. David Allen and Sons Ltd., Harrow, Middlesex.
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Must Children Die and Mothers Plead in Vain?
An American war bonds poster that reads, "Must Children Die and Mothers Plead in Vain? Buy More Liberty Bonds". The image is that of a mother, facing away from the audience, who is holding an infant and pointing toward the sky while another child reaches toward her. She is surrounded by various objects in disarray. The background behind the woman is bright yellow while the woman and children are bathed in pale, neutral tones. The posture of the woman suggests she is pleading to some non- visible character, perhaps a soldier threatening to kill her infant children. The dark shadows covering her body and that fact that her face is not visible suggest she is deeply grieving. The use of a female as a passive victim contrasts the masculine ideal, which was typically active and invulnerable. The use of the small children suggests that the woman is young, reminding the audience that the soldiers fighting are generally quite young. The poster attempts to highlight not only the sacrifices made by these young soldiers but also the grief felt by their families. The female viewer is reminded that there are passive acts she can do to show her support while the male viewer is called to enlist in order to show his support by the evocation of a vulnerable woman who needs protection.
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This poster depicts an attractive Joan of Arc bearing a sword, in military gear, with the heading "Joan of Arc Saved France." Joan is presented as an idealized image of martial courage and heroism. Her martyrdom and sainthood suggest the idea of a holy war, and military victory by divine right. The banality of its message, however ("Save Your Country. Buy War Savings Stamps.") seems incongruous with the mythologized figure represented. Joan's femininity makes her a dubious stand-in for the reality of national military efficacy, given that women did not participate in combat, while her legendary status makes her equally problematic as an everyman figure. The poster summons an image from a nostalgic understanding of national pride and medieval warfare to dress up as "heroic" the everyday deeds of the individual necessitated by a society's commitment to total war.
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This poster was created in 1918 by Joseph Pennell and was intended solely for an American audience during WWI. Created for the fourth Liberty Loans campaign of 1918, the poster depicts the New York City harbor under aerial and naval bombardment. The skies appear to be engulfed in flames, the Statue of Liberty is under attack and the city is slowly crumbling. The entire poster is a violent array of red and orange which created a shocking image that would jar passersby out of their stupor and inspire action. Although the events pictured in the image are purely fictitious, the image was created to resonate stongly with the patriotic American and essentially took the events of the London Bombings in WWI and transported them to an American setting. At the bottom, the poster reads "that liberty shall not perish from the earth, buy liberty bonds". Those words are a modified version of a line from Abraham Lincoln's powerful Gettysburg Address. The original line reads “. . . that this nation, under God, shall have a new birth of freedom—and that government of the people, by the people, for the people, shall not perish from the earth". The line was rewritten so that instead of government perishing, it is liberty who falls. By connecting the image of a burning NYC to one of the most famous speeches given by an American president, this poster is playing on American nationalism and the idealism that helped fuel war efforts in WWI.
McFarlin Library. Department of Special Collections and University Archives, University of Tulsa. 2933 E. 6th Street. Tulsa, OK 74104-3123.
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Remember the Girl Behind the Man Behind the Gun Y. W. C. A.
American War Work Council Young Women's Christian Association A woman standing with her arms through an upside down triangle wearing some kind of uniform. The colours are bright and attractive, catching the viewer's attention. Asking women to stand behind their men as the men go off to fight the war. The women are needed as nurses and other workers contributing to the war effort.
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This poster depicts crosses on hilltops, representing the loss of life from the war. Over this image is the statement “They give their lives” and under that, it asks the reader “Do you lend your savings?” The image, while stark, falls very short of the real atrocities of war, but the pathos involved still grabs the viewer’s attention without making him or her walk off in fear. The poster follows what is normally thought of as one of the first two sacrifices a government asks for in wartime: men and money. The poster very brilliantly, though, asks for one of the two necessities in context of another.
Committee on Public Information, Division of Pictorial Publicity. Printed by Sackett and Wilhelms Corp., New York
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This poster displays a matronly woman with her arms open, appealing to the women left behind on the homefront. It's purpose was to call women to buy war bonds and support the men that they had sent off to war. It is a poster orginating from the Unted States and so appeals to the female population of the United States. This poster draws on the heart strings of the female population, specifically mothers by stating that the men sent over to fight are not just their sons, but America's sons and so deserve the best protection that America can offer.
McFarlin Library, Department of Special Collections and University Archives, University of Tulsa. 2933 E. 6th Street Tulsa, Oklahoma 74104-3123
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In this English poster, boys are encouraged to enlist for the war effort. The four boys depicted in the poster are walking in perfect formation with synchronized steps and bright, smiling faces. Their bodies seem to blend together into a single conglomeration of uniforms. In contrast to certain posters, like those of Lord Kitchener, which point directly at the viewer, singling him out, this poster makes the viewer imagine himself as part of a unit of other boys just like himself. This takes away from the apprehension he might feel at enlisting by himself, because he will become part of a unit as soon as he enlists. The image of all the enlisted boys walking happily side by side appeals directly to the youthful sense of fun of the young viewer, turning the act of enlistment from a dreaded duty into a fun adventure, and making war into a harmless game. The poster makes no reference to real fighting, but instead focuses on the camaraderie of the unit and the dignity with which the boys are walking together.
Parliamentary Recruiting Committee, London
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Title: Shall Uncle Sam's Navy Suffer Our Soldiers Going "Over There" on Our Transports to Sink? for Lack of Firemen. 7,000 Needed Now! Annotation: Posters such as "Shall Uncle Sam's Navy Suffer..." can be read in multiple ways giving off underlining meanings. A common technique was using two separate colors for the text. For example: “SHALL OUR TRANSPORTS SINK?” (red text) The phrase is printed all in the color red, which provides the main point of the poster. The red words are also rather large in size when compared to the blue text; it is almost like reading through the lines or fine print in advertisements on television. The smaller blue text is a sentimental filler to justify the broad question. The color blue is also a calming color, which causes the reader to read the text with less urgency. Also reading the blue text alone does not make much sense; therefore proving it is of less importance. The color red is a more alarming and attention grasping color, which comes off as more of a demand to the reader. The sense of demand with the color red also signifies the importance of the red text rather than the blue text.
United States Printing and Lithograph Co. United States Treasury Department
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An American work campaign poster evoking a sense of duty and patriotism in American women to their country and men fighting overseas, this piece of propaganda was distributed by the United War Work Campaign during the Fist World War. It portrays a strong-jawed, muscular, broad shouldered woman in sailor garb with the title, "Every Girl Pulling for Victory" and caption, "Victory Girls United War Work Campaign". The poster appeals to the sense of duty women felt during the war and their want to contribute to war efforts. In portraying the woman as a strong, masculine figure, it illustrates women as independent persons capable of handing the weight of maintaining the country while the men were at war. This kind of acknowledgement of strength was necessary in making women feel like participatory citizens at a time when voluntary labor and monetary participation was crucial. It is interesting to note the similarity between the figure in the poster and classical Greek and Roman goddesses. This illustration of strength and allegory to mythical power and beauty is a method recognized by Pearl James as a way to empower and encourage female viewers without allowing them to entirely identify with the figure in the poster. It is in the drawing of this line that women are encouraged to support the war by maintaining the home front and working rather than joining men in combat as the figure in the poster seems to be doing. The United War Work Campaign was a group of seven large organizations, the YMCA, the YWCA, the American Library Association, the War Camp Community Service, the Knights of Columbus, the Jewish Welfare Board, and the Salvation Army charged with raising over $170 million in funds for the War in 1918. These kinds of propaganda posters were used to encourage citizens to donate money to the fund or participate in charitable labor for the war effort.
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An American saving stamps poster evoking the idea of holy war in defense of the homeland. It presents an image of Joan of Arc in shining armor, holding aloft a sword, with text that reads, "Joan of Arc Saved France. Save Your Country: Buy War Savings Stamps." The poster appeals to the desire for greatness in the common citizen through the legend of Joan, a peasant girl who believed God sent visions instructing her to fight for King Charles VII in the Hundred Years' War against English domination. The soft, warm tones of modern advertising style present Joan as an attractive and dedicated young woman to be admired and emulated. Together, the image and text communicate the idea of individual service and self sacrifice for the greater good, backed by the moral (Christian) righteousness in saving France from the invading Germans. Such concepts would normally be expected in a recruitment poster. However, it ends unexpectedly with an injunction to buy war saving stamps, using italics to emphasize the word "buy." The concept of "saving" is thus shifted from an act of military heroism to an act of spending that will help to finance the military effort. The propaganda therefore relies on convincing the beholder that participating in this government sponsored financing program is tantamount to being on the front line and making a direct contribution to victory, with all of the recognition and accolades that ensue.
United States Printing and Lithograph Co.