Powers of Persuasion: Poster Art from World War II

Image
Poster, We Can Do It!, NARA
Annotation

Created for a 1994 exhibit, this site examines poster art as a method of persuasion during World War II. Featuring 33 posters and one audio clip--the song "Any Bonds Today?"--the materials are divided into two sections. The first, which focuses on themes of "patriotism, confidence, and a patriotic outlook," is arranged into five subsections: "Man the Guns!"; "It's a Woman's War Too!"; "United We Win"; "Use it Up, Wear it Out, Make it Do, Or Do Without"; and "Four Freedoms." The second section, also arranged into five subsections, presents posters that attempted to foster "feelings of suspicion, fear, and even hate," a distinctly different strategy of propaganda. The materials are contextualized by background essays of 100-400 words in length. Although limited with regard to number of items, the site will be valuable for those studying wartime depictions of gender and race, and the power of images to further national goals.

Historic Government Publications from World War II: A Digital Library

Image
Image, A Pocket Guide to Hawaii, R. Bach, 1945, Historic Government Publications
Annotation

More than 300 U.S. government publications from World War II have been digitized for this site, an ongoing project that plans to add another 200 documents.

Materials include pamphlets and books emphasizing home front issues, such as air raids, preservation, child labor, and victory farms. All materials are searchable by title, author, subject, and keyword. Browsing is also available.

A companion collection of photographs, the "Melvin C. Shaffer Collection," depicts the home front situation in Germany, North Africa, Italy, and Southern France from 1943 to 1945. Shaffer was a U.S. Army medical photographer assigned to document the medical history of the war through major campaigns. Shafer took the photographs on this site—totaling approximately 340—unofficially with the goal of recording the war's impact on civilians.

Northwestern European Military Situation Maps from World War II

Image
Image, HQ Twelfth Army Group situation map, June 8, 1944, Library of Congress.
Annotation

Created by the First United States Army Group and the Twelfth Army Group, this collection consists of 416 situation maps from World War II. The maps show the daily positions of Allied army units during the campaigns in Western Europe, from the D-Day invasion on June 6, 1944, through Allied occupation in July 26, 1945. There are also more than 100 reports from the campaigns.

Maps offer insight into daily activities, but also a broad view of movement over time. In addition, they highlight the incomplete nature of information available to commanders in the field during war time. Visitors can search the collection or browse the maps and reports by title, creator, subject, place, or date. The site also includes an interactive essay on the Battle of the Bulge. Visitors can select the desired zoom level and window size for viewing maps.

Cause and Effect: The Outbreak of World War II

field_image
german WWII Propaganda poster
Question

What were the causes of the Second World War?

Answer

Pinpointing the causes of a vast, global event like the Second World War is a challenging task for the historian. Events—especially enormous, multifaceted events—have multiple causes and multiple inputs.

A proximate cause is an incident that appears to directly trigger an event...

To help analyze the effects of those different inputs, historians often classify an event’s causes into different categories. A proximate cause is an incident that appears to directly trigger an event, as the election of Abraham Lincoln in November 1860 and the shelling of Fort Sumter led to the outbreak of the Civil War. Such dramatic incidents are often the ones we think of as “causing” an event, since the connection between the trigger and the outcome appears both direct and obvious.

In their attempts to explore cause and effect, however, historians often probe more deeply beyond the “triggers” to locate trends, developments, and circumstances that contributed equally, if not more, to events. In the case of the Civil War, for example, historians often point to the growing sectional polarization that divided the nation in the 1840s and 1850s, the national debate over the future of slavery, and the divergent economic paths that distinguished North and South during the antebellum period. Those factors created the backdrop against which Lincoln’s election and the shelling of Fort Sumter led to full-blown armed conflict in the spring of 1861; those conditions contributed to a state of affairs in which a triggering event could exert such enormous influence and touch off a four-year war.

In the case of the Second World War, historians generally point to a series of conditions that helped contribute to its outbreak.

In the case of the Second World War, historians generally point to a series of conditions that helped contribute to its outbreak. The unbalanced Treaty of Versailles (which forced a crippling peace on Germany to end the First World War) and the global depression that enveloped the world during the 1930s (which led to particularly desperate conditions in many European nations as well as the United States) usually emerge as two of the most crucial. Those conditions formed the background against which Adolf Hitler could ascend to the position of German Chancellor in the 1930s.

Virtually all historians of the Second World War agree that Hitler’s rise to power was the proximate cause of the cataclysmic war that gripped the globe between 1939 and 1945. Without Hitler, a megalomaniacal leader bent on establishing a 1,000-year German empire through military conquest, it becomes extremely difficult to imagine the outbreak of such a lengthy and devastating war.

At the same time, Hitler’s rise to power did not occur in a vacuum. Much of his appeal to the German citizenry had to do with his promises to restore German honor, believed by many Germans to have been mortgaged via the Treaty of Versailles. The peace agreement forced Germany to accept full responsibility for the Great War, and levied a massive system of reparation payments to help restore areas in Belgium and France devastated during the fighting. The Treaty of Versailles also required Germany to disarm its military, restricting it to a skeleton force intended only to operate on the defensive. Many Germans viewed the lopsided terms of the treaty as unnecessarily punitive and profoundly shameful.

Hitler offered the German people an alternative explanation for their humiliating defeat in the Great War. German armies had not been defeated in the field, he held; rather, they had been betrayed by an assortment of corrupt politicians, Bolsheviks, and Jewish interests who sabotaged the war effort for their own gain. To a German people saddled with a weak and ineffective democratic government, a hyperinflated currency, and an enfeebled military, this “stab in the back” mythology proved an enormously seductive explanation that essentially absolved them of the blame for the war and their loss in it. Hitler’s account of the German defeat not only offered a clear set of villains but a distinct path back to national honor by pursuing its former military glory.

During the 1930s, Hitler’s Germany embarked on a program of rearmament, in direct violation of the terms of the Versailles Treaty. German industry produced military vehicles and weapons; German men joined “flying clubs” that served as a thin pretense for training military pilots. Rearmament and militarization provided appealing avenues for Germans seeking some means to reassert their national pride.

Politicians in Britain, France, and the United States...were reluctant to act to check Hitler’s expansionism without irrefutable evidence of his ultimate intentions.

Hitler’s racial theories provided more context, both for his explanation of defeat in the First World War and for his plans for a 1,000-year German empire. In Hitler’s account, Communists and Jews—whom Hitler depicted as stateless parasites who exploited European nations for their own gain—had conspired to stab Germany in the back in 1918. Creating the 1,000-year Reich required the creation of a racially pure cohort of blond-haired, blue-eyed “Aryans” and the simultaneous liquidation of ethnic undesirables. Hitler’s vision of a racially pure German nation expanding across Europe, combined with his aggressive rearmament programs, proved a powerful enticement for the German people in the 1930s. Politicians in Britain, France, and the United States, encumbered with their own economic troubles during the global depression, were reluctant to act to check Hitler’s expansionism without irrefutable evidence of his ultimate intentions.

Only later would the world learn that those intentions revolved around the methodical military conquest of Europe from the center outward, a process one historian of the Second World War has likened to eating an artichoke leaf by leaf from the inside out. That conquest began with the German invasion of Poland in 1939 and the attack on France and the Low Countries six months later. Hitler’s quest for more “living-space” for his empire led to the invasion of the Soviet Union in 1941. By March of 1942, Hitler’s fanatical desire to conquer Europe—along with Japan’s concurrent push across East Asia and the Pacific—had plunged the world into a war that would last nearly six years and cost the lives of more than 50 million soldiers and civilians: by far the largest catastrophe in human history.

For more information

Weinberg, Gerhard. A World at Arms. New York: Cambridge, 2005.

A People at War

Image
Photo, Dwight D. Eisenhower Speaks to 101st Airborne, NARA
Annotation

Drawn primarily from documents at the National Archives' National Personnel Records Center, this exhibit explores "the contributions of the thousands of Americans, both military and civilian, who served their country during World War II." Arranged into seven sections--"Prelude to War"; "New Roles"; "Women Who Served"; "The War in the Pacific"; "The War in Europe" "Science Pitches In"; and "The War is Over"--the site presents approximately 60 photographs, editorials, letters, and governmental reports, such as General Benjamin O. Davis's 1943 report concerning racial discrimination in the military. A 3,000-word background essay narrates the materials. Though lacking in depth and limited in size, the exhibit offers a selection of valuable and interesting materials regarding the war effort.

July 1942: United We Stand

Image
Cover, "Screen Romances," August 1942
Annotation

Presents an exhibit on the "United We Stand" campaign of July 1942, a collaboration of the National Publishers Association and the Treasury Department in which approximately 500 magazine publications carried images of the American flag on their covers. The intent of the campaign was to raise public morale and stimulate the sale of war bonds during a time of national anxiety concerning the course World War II had taken. The exhibit includes nearly 300 covers along with a photo-narrative that addresses the history of the campaign and selected aspects of cover design issues. The exhibit also makes an effort to draw parallels to the recent nationwide display of the flag following the September 11th attacks.

Magazine covers are searchable according to subject, title, and keyword. The site includes a 19-title bibliography. Useful for those studying propaganda efforts, the history of business-government wartime collaboration, homefront nationalism, and the history of the magazine publishing industry.

Remembering Nagasaki

Image
Photo, Nagasaki, August 10, 1945, Yosuke Yamahata
Annotation

Part of the Memory Exhibition, this site commemorates the 50th anniversary of the atomic bombing of Nagasaki and Hiroshima through the presentation of images of the devastation in the former city and discussion of issues relating to the dropping of the bombs and historical memory of the events. The exhibit contains a slide show of 18 photographs by Japanese army photographer Yosuke Yamahata, taken in Nagasaki on August 10, 1945, the day after the bombing--"the only extensive photographic record of the immediate aftermath of the atomic bombing of either Hiroshima or Nagasaki"--with accompanying comments by Yamahata and a 1,200-word memo he wrote in 1952 on "Photographing the Bomb"; a sampling of approximately 65 recollections from people of different ages, nationalities, and ethnic backgrounds on how they learned about the bombing; excerpts from a public online forum on "the process of representing history, the inhumanity of war, the ethical responsibilities of scientists and technologists, and the historical decision to use the bomb"; and a list of 9 related films, 2 CD-ROMs, 27 books, and 13 links. A well-organized and powerfully presented exhibit.

Hiroshima Peace Site

Image
Photo, A-Bomb Dome
Annotation

This is a somewhat random collection of material designed to inform visitors about the effects of atomic weapons on Hiroshima and Nagasaki and to encourage discussions about world peace. The Hiroshima City University Department of Computer Science produced the site, which is divided into twenty pages. Pages that address the effects of the bomb include interviews of 700 to 900 words with five survivors and a survey of attitudes of second-generation Hiroshima citizens and children towards the bombing. There are 13 images of objects in the Peace Memorial Museum and 12 photographs that portray the effects of the bomb on Hiroshima. A 600-word essay describes the bomb and its physical effects. Pages that focus on peace include a tour of Peace Park, messages from the Mayors of Hiroshima and Nagasaki, and the 19-page transcript of the Hiroshima Peace Forum, attended by Shimon Peres, Kenzaburo Ooe, and Takeshi Hiraoka. A bibliography provides titles for 37 books about the bomb and links to 30 other bomb related sites. Site may be useful for discussion of the cultural legacy of the bomb.

World War II Memorial

Video Overview

What do the elements of the World War II Memorial in Washington, DC, symbolize? Is the design effective? Who was the memorial built for? Christopher Hamner and Michael O'Malley try to answer these questions by contrasting the memorial with the Vietnam Veterans Memorial.

Video Clip Name
warmemorial2.mov
Video Clip Title
World War II Memorial
Transcript Text

Christopher Hamner: You can’t really understand the World War II Monument, where it is and why it looks the way it looks, without understanding the Vietnam Memorial and the story of getting it built. The design competition for the Vietnam Veterans Memorial was open to everybody. It eventually got more than 1,400 submissions. They were handled anonymously so that the judging panels saw only the design and a numbered code and they went on 1,400 down to 300 down to 30 down to the winner who was very surprising when it was revealed. It was a 21-year-old architecture student at Yale named Maya Lin.

Michael O’Malley: Problematic is so many ways.

Christopher Hamner:: Youth, ethnicity, gender. And it was the design that’s very close to what we now see on the Mall. One of the reasons that I suspect the World War II Monument looks the way that it looks, which is much more traditional, heroic, sort of celebratory. It seems to privilege sort of consensus and unity above everything else. [It] has to do with the desire to avoid that kind of controversy. One of the things that we pointed out was the fact that the ring of stones that sort of marks the outer boundary that are adorned with wreaths are dedicated to the states.

Michael O’Malley: Which makes no sense. The state-iness was not part of the World War II experience.

Christopher Hamner: Of all the ways you could possibly cut up World War II—

Michael O’Malley: It’s not like all the guys from Delaware were in one unit. They got drafted, they went down to some camp in the South and then they went back. I mean their was no state-iness attached to it.

Christopher Hamner: It’s a national effort to the extent that people identify with some smaller segment, it’s usually by branch or then by division. There are other ways that you could group it, but the one that makes the least sense is the states. It’s incredibly traditional, it’s white, there are wreaths, there’s a gold star at one end for every 500 combat deaths.

Michael O’Malley: So they want to have some element of what the Vietnam War Memorial does so well, which is individualizing. Really made graphic the extent of the loss. They want to have some element of that—

Christopher Hamner: But they don’t particularize it quite as effectively and that some of the teachers that we toured with said that that element of it had sort of fallen flat, that it did not—

Michael O’Malley: You actually came away thinking less people died in World War II than in Vietnam.

Christopher Hamner: I found as I walked around I spent probably half my time trying to figure out what the organizational strategy was. They were not in alphabetical order, they were not in the order the states joined the Union, they’re not grouped together. I mean I couldn’t tell. It didn’t look to me like it was sort of by population or the sort of number of soldiers from that state who perished over the course of the war and I started to suspect that it was just random.

Michael O’Malley: I mean the Vietnam Memorial takes a few elements and loads them with meaning. This thing takes a lot of elements and bleeds the meaning out of them.

Christopher Hamner: We also talked about the Korean War Memorial, which is a sort of interesting combination, right? That it’s particularized and personalized and that it’s slightly larger-than-life-size figures of soldiers that are in ponchos. They’re spread out and kind of making their way across a field but they’re not heroic in the way that soldiers a century ago would have been portrayed. You can feel the weight of the gear that they carry.

Michael O’Malley: And that wants to put you in the midst of it, I mean you walk through them. You’re right in the middle of that, so, where as in the World War II Memorial you’re in the middle of kind of nothing, you’re in the middle of some kind of empty abstraction.

Christopher Hamner: It has become more participatory at least during the daytime than it had been before because there are so many World War II veterans who are designated, who are kind of milling around the areas and who will engage with visitors and pose for photographs and talk about their experience so there is a sort of participatory dimension to it. But as Mike pointed out, these guys won’t be around forever, that cannot last.

Michael O’Malley: That’s an element of this thing that we got to in the discussion. There were some great questions, like who was this thing for? And there was really a sense that this was for veterans. Like this is here to make veterans feel good. It’s not about the nation remembering something. It’s a gift to veterans. I have nothing against giving gifts to veterans, but is that the purpose of a memorial? That’s a worthwhile question. And when the veterans are gone, what do you have? You have a gift for a person who is no longer around. It’s an odd construction of memorialization.

IWitness

Image
What is it?

IWitness is a free resource developed by the USC Shoah Foundation Institute to help students develop a deeper understanding of 20th-century history alongside digital and media literacies. It houses approximately 1,000 Holocaust survivor and witness testimonies and allows students to construct multimedia projects using the testimonies. Users need only an Internet connection; all of the tools—including an online video editor—are self-contained on the server and are compatible with both Macs and PCs.

Getting Started

In order to start using IWitness, click here and select “register.” Once registered, you will be able to create classes and generate access codes students can use to register.

Teachers are using IWitness as a way to integrate 21st-century literacies into a range of subjects.

Even prior to registering, the IWitness home page features a rotating group of curated clips. These short clips run less than five minutes and draw learners into compelling stories. Linked from the home page, the Browse All Topics page provides more clips from a breadth of topics to anyone visiting the site. Registered users are able to search among more than 1,000 full-length testimonies, then save clips from the testimonies for use in projects. Testimonies have been indexed to the minute with keywords. If, for example, students search for “music,” they will get a list of clips where the interviewee discusses music, and they can go right to the exact minute in which music is discussed in a testimony. Users also can narrow search results in various ways.

Once signed in, you should go to your “Dashboard” to get started exploring IWitness. From here you will notice videos located on the left side under “Connections.” The Connections videos will help you address important topics with your students: ethical editing of video clips, effective searching, and defining terms like “archive” and “testimony.” There is an Educators page designed to orient teachers to the site and highlight available resources. There is also a resource tab on the top of the screen with links to reliable information. For students and teachers alike, IWitness offers a Tool Kit, which can fly out from the right side of the screen. The Tool Kit provides users with quick access to their assigned activities, as well as to an encyclopedia, glossary, and note-taking tool.

IWitness has numerous activities you can assign to your students. More than 200 activities are available in several languages and cover an array of subjects from the Holocaust and genocide to cinema and media & digital literacy. Different types of activities present information in diverse formats and can be filtered for different age or subject levels. “Information Quest”, for example, focuses on a single survivor or witness of the Holocaust. Students listen carefully for information in testimony clips and then reflect on their learning by using, among other things, a world cloud tool. As an educator, you are also able to build your own activities for your students in IWitness with the “Activity Builder”. The additional resources offered on the “Resources” page provide bibliographies, glossaries, and timelines that may be useful when assigning activities for students to build or complete.

Examples
IWitness allows students to learn about . . . the 20th century while creating meaningful projects and making connections with their own lives.

Teachers are using IWitness as a way to integrate 21st-century literacies into a range of subjects, including social studies, language arts, media studies, psychology, and more. One history teacher built an IWitness activity so his students could compare and contrast the Hollywood portrayal of the Sobibor Uprising in film with how survivors of the event remember and describe it. Through his IWitness activity “Escape From Sobibor: Hollywood and Memory,” his students were able to use critical thinking as they watched testimony and compared it to the film, then select clips of that testimony to construct a more historical depiction of daily life in the concentration camp.

You can also use IWitness to help teach online etiquette and respectful dialogue skills. Within IWitness, students finish their activities by viewing and commenting on their classmates’ projects. This is a great way to spark conversation that can continue in IWitness through social-media-style commenting tools. Teachers are able to mediate conversations and communicate with students within the application. IWitness also provides reminders to students about good digital citizenship when communicating with their peers within the site. IWitness allows students to learn about important events in the 20th century while creating meaningful projects and making connections with their own lives.

For more information

Want to learn more about IWitness? See Teachinghistory.org's Website Review for more information.

Looking for more resources on the Holocaust? Teachinghistory.org has gathered website reviews, lesson plans, teaching strategies, and more on the Days of Remembrance of the Victims of the Holocaust spotlight page.