Book and Magazine Bureau, Extensive Surveys Division, Bureau of Public Inquiries, Bureau of Motion Pictures, Propaganda Intelligence Section, etc.
The United States Office of War Information (OWI) was a United States government agency created during World War II. The OWI operated from June 1942 until September 1945. Through radio broadcasts, newspapers, posters, photographs, films and other forms of media, the OWI was the connection between the battlefront and civilian communities. The office also established several overseas branches, which launched a large-scale information and propaganda campaign abroad. From 1942 to 1945, the OWI reviewed film scripts, flagging material which portrayed the United States in a negative light, including anti-war sentiment.
President Franklin D. Roosevelt promulgated the OWI on June 13, 1942, by Executive Order 9182.[1] The Executive Order consolidated the functions of the Office of Facts and Figures (OFF, OWI's direct predecessor), the Office of Government Reports, and the Division of Information of the Office for Emergency Management. The Foreign Information Service, a division of the Office of the Coordinator of Information, became the core of the Overseas Branch of the OWI.[2]
At the onset of World War II, the American public was in the dark regarding wartime information. One American observer noted: "It all seemed to boil down to three bitter complaints...first, that there was too much information; second, that there wasn't enough of it; and third, that in any event it was confusing and inconsistent".[2] Further, the American public confessed a lack of understanding as to why the world was at war, and held great resentment against other Allied Nations.[3] President Roosevelt established the OWI to both meet the demands for news and less confusion, as well as resolve American apathy towards the war.
Elmer Davis, Director of the Office of War Information, examines Nazi and Japanese propaganda organs at a press conference that explained how the OWI was fighting the propaganda war (March 6, 1943).
The OWI's creation was not without controversy. The American public, and the United States Congress in particular, were wary of propaganda for several reasons. First, the press feared a centralized agency as the sole distributor of wartime information.[4] Second, Congress feared an American propaganda machine that could resemble Joseph Goebbels' operation in Nazi Germany.[5] Third, previous attempts at propaganda under the Committee on Public Information/Creel Committee during WWI were viewed as a failure.[6] And fourth, the American public favored an isolationist or non-interventionist policy and were therefore hesitant to support a pro-war propaganda campaign targeting Americans.
But in the wake of the attack on Pearl Harbor, the need for coordinated and properly disseminated wartime information from the military/administration to the public outweighed the fears associated with American propaganda. President Roosevelt entrusted the OWI to journalist and CBS newsman Elmer Davis, with the mission to take "an active part in winning the war and in laying the foundations for a better postwar world".[7]
President Roosevelt ordered Davis to "formulate and carry out, through the use of press, radio, motion picture, and other facilities, information programs designed to facilitate the development of an informed and intelligent understanding, at home and abroad, of the status and progress of the war effort and of the war policies, activities, and aims of the Government".[8] The OWI's operations were thus divided between the Domestic and Overseas Branches.
The OWI Domestic Radio Bureau produced series such as This is Our Enemy (spring 1942), which dealt with Germany, Japan, and Italy; Uncle Sam, which dealt with domestic themes; and Hasten the Day (August 1943), which focused on the Home Front, the NBC Blue Network's Chaplain Jim. The radio producer Norman Corwin produced several series for the OWI, including An American in England, An American in Russia, and Passport for Adams, which starred Robert Young, Ray Collins, Paul Stewart and Harry Davenport.[9]
Washington, D.C. Radio repair service in the self-help exchange.
In 1942 the OWI established the Voice of America (VOA), which remains in service as the official government international broadcasting service of the United States. The VOA initially borrowed transmitters from the commercial networks. The programs OWI produced included those provided by the Labor Short Wave Bureau, whose material came from the American Federation of Labor and the Congress of Industrial Organizations.
Servicing a Douglas A-20Havoc bomber. OWI photo, 1942.
During 1942 and 1943 the OWI boasted two photographic units whose photographers documented the country's mobilization during the early years of the war, concentrating on such topics as aircraft factories and women in the workforce. In addition, the OWI produced a series of 267 newsreels in 16mm film, The United Newsreel which were shown overseas and to US audiences. These newsreels incorporated U.S. military footage. For examples see this Google list.
Bureau of Motion Pictures
The OWI Bureau of Motion Pictures (BMP) headed by Lowell Mellet worked with the Hollywood movie studios to produce films that advanced American war aims. According to Elmer Davis, "The easiest way to inject a propaganda idea into most people's minds is to let it go through the medium of an entertainment picture when they do not realize that they are being propagandized."[11] Successful films depicted the Allied armed forces as valiant "Freedom fighters", and advocated for civilian participation, such as conserving fuel or donating food to troops.[12]
The BMP's first act was the creation and distribution of a "Manual for the Motion-Picture Industry" this provided guidance on how to promote Anti-Fascist democratic principles.[13] The influence of this was limited and instead they began to request scripts to review and approve. By 1943 every major Hollywood studio (except Paramount Pictures) allowed the OWI to examine their film scripts.[14] OWI evaluated whether each film would promote the honor of the Allies' mission.[15] Unlike the office of the Production Code whose approval was required for major studio releases, the OWI's role was advisory, and they lacked the power to prevent films from release. However, the Office of Censorship could deny a film an export license.[16]
The BMP created documentaries and training films for soldiers. Their first release was The World At War, produced and edited by Sam Spewack.[17] The Why We Fight series directed by Frank Capra was shown to American soldiers to explain and justify America's involvement in the war.[18] By July 1942 OWI administrators realized that the best way to reach American audiences was to present war films in conjunction with feature films and some documentaries such as Why We Fight received theatrical release.[18]
Foreign operations
The Overseas Branch enjoyed greater success and less controversy than the Domestic Branch.[19] Abroad, the OWI operated a Psychological Warfare Branch (PWB), which used propaganda to terrorize enemy forces in combat zones, in addition to informing civilian populations in Allied camps.[20]Leaflet warfare gained popularity during World War II and was utilized in regions such as Northern Africa, Italy, Germany, the Philippines, and Japan. For example, in Japan, the OWI printed and dropped over 180 million leaflets, with about 98 million being dropped in the summer months of 1945.[21] Leaflets dropped in Tunisia read: "You Are Surrounded" and "Drowning Is a Nasty Death".[22] Millions of leaflets dropped in Sicily read: "The time has come for you to decide whether Italians shall die for Mussolini and Hitler–or live for Italy and civilization".[23]
OWI also used newspapers and publicized magazines to further American war aims. Magazines distributed to foreign audiences, such as Victory, intended to convey to foreign Allied civilians that American civilians were contributing to the war.[24]Victory showcased America's manufacturing power, and sought to foster an appreciation for the American lifestyle.[25]
Aside from the aforementioned publication and production styles of propaganda, the OWI also utilized unconventional propaganda vehicles known as "specialty items." Specific examples of these items include packets of seeds, matchbooks, soap paper, and sewing kits. The packets of seeds had an American flag and a message printed on the outside that identified the donor. Each matchbook was inscribed with the "Four Freedoms" on the inside cover. Soap paper was etched with the message: "From your friends the United Nations. Dip in water–use like soap. WASH OFF THE NAZI DIRT." Sewing kit pincushions were shaped like a human rear end. On the reverse side lay a caricatured face of either Adolf Hitler or Japanese General Hideki Tojo.[26]
Death unless you surrender. Here is an OWI leaflet giving Japan's ultimatum to the Filipino people. In reply, the Filipinos threw their entire resources and manpower into the struggle on the side of the United States.
The details of OWI's involvement can be divided into operations in the European and Pacific Theaters.
European Theater
One of the most astounding of all OWI operations occurred in Luxembourg. Known as Operation Annie, the United States 12th Army Group ran a secret radio station from 2:00–6:30 am every morning from a house in Luxembourg pretending to be loyal Rhinelanders under Nazi occupation. They spoke of Nazi commanders hiding their desperate position from the German public, which caused dissent among Nazi supporters. Further, they led Nazi forces into an Allied trap, and then staged an Allied attack on the Annie Radio office to maintain their cover.[27][28]
On the Eastern front, the OWI struggled not to offend Polish and Soviet Allies.[29] As the Soviets advanced from the East towards Germany, they swept through Poland without hesitation. However, Poles considered much of the land of the Eastern front as their own. The OWI struggled to present the news (including the pronunciation of town names or and discussion of county or national boundaries) without offending either party. Further, Poles and Soviets criticized the OWI for promoting the idealization of war, when their physical and human losses so heavily outweighed that of America's.[30]
Pacific Theater
The OWI was one of the most prolific sources of propaganda in "Free China." They operated a sophisticated propaganda machine that sought to demoralize the Japanese army and create a portrait of US war aims that would appeal to the Chinese audience. OWI employed many Chinese, second-generation Japanese (Nisei), Japanese POWs, Korean exiles, etc. to help gather and translate information, as well as transmit programs in multiple languages across the Pacific. OWI also created communication channels (logistical support) for intelligence and coded information.[31]
However, the OWI encountered public relations difficulties in China and India. In China, the OWI unsuccessfully attempted to stay removed from the Nationalist versus Communist conflict. However, the Roosevelt administration and OWI officials took issue with many aspects of Chiang Kai-shek's rule, and conversely, Chiang placed spies in the OWI.[32] Also, the OWI struggled to paint a post-war image of China without offending Nationalist or Communist leaders. In India, the Americans and British agreed to win the war first, then deal with (de)colonization.[33] The OWI feared that broadcasts advocating liberty from oppression would incite India rebellions and jeopardize cooperation with the British. But this approach angered Indians as well as the African-American lobby at home who recognized the hypocrisy in American policy.[33]
Controversies at home
From 1942 to 1945, the OWI's Bureau of Motion Pictures reviewed 1,652 film scripts and revised or discarded any that portrayed the United States in a negative light, including material that made Americans seem "oblivious to the war or anti-war." Elmer Davis, the head of the OWI, said that "The easiest way to inject a propaganda idea into most people's minds is to let it go through the medium of an entertainment picture when they do not realize they're being propagandized".[34]
The OWI suffered from conflicting aims and poor management. For instance, Elmer Davis, who wanted to "see that the American people are truthfully informed," clashed with the military that routinely withheld information for "public safety".[35] Further, OWI employees grew ever more dissatisfied with "what they regarded as a turn away from the fundamental, complex issues of the war in favor of manipulation and stylized exhortation".[36] On April 14, 1943, several OWI writers resigned from office and released a scathing statement to the press explaining how they no longer felt they could give an objective picture of the war because "high-pressure promoters who prefer slick salesmanship to honest information" dictated OWI decision-making.[37] President Roosevelt's "wait-and-see" attitude and wavering public support for OWI damaged public opinion of the agency.[38]
Congressional opposition to the domestic operations of the OWI resulted in increasingly curtailed funds.[39] Congress accused the OWI as President Roosevelt's campaign agency, and pounced on any miscommunications and scandals as reason for disbandment.[40] In 1943, the OWI's appropriations were cut out of the following year's budget and only restored with strict restrictions on OWI's domestic capabilities. Many overseas branch offices were closed, as well as the Motion Picture Bureau. By 1944 the OWI operated mostly in the foreign field, contributing to undermining enemy morale. The agency was abolished in 1945, and many of its foreign functions were transferred to the Department of State.
Some of the writers, producers, and actors of OWI programs admired the Soviet Union and were either loosely affiliated with or were members of the Communist Party USA.[41] The director of Pacific operations for the OWI, Owen Lattimore, who later accompanied U.S. Vice-President Henry Wallace on a mission to China and Mongolia in 1944, was later alleged to be a Soviet agent on the basis of testimony by a defector from the Soviet GRU, General Alexander Barmine.[42][43][44]
In his final report, Elmer Davis noted that he had fired 35 employees, because of past Communist associations, though the FBI files showed no formal allegiance to the CPUSA. After the war, as a broadcast journalist, Davis staunchly defended Owen Lattimore and others from what he considered outrageous and false accusations of disloyalty from Senator Joseph R. McCarthy, Whittaker Chambers and others. Flora Wovschin, who worked for the OWI from September 1943 to February 1945, was later revealed in the Venona project intercepts to have been a Soviet spy.[45]
Dissolution and legacy
The OWI was terminated, effective September 15, 1945, by Executive Order 9608 on August 31, 1945.[46] President Truman cited the OWI for "outstanding contribution to victory", and saw no reason to continue funding the agency post-war.[47] The international offices of the OWI were transferred to the State Department, and the United States Information Service and the Office of Strategic Services/Central Intelligence Agency assumed many of the information gathering, analyzing, and disseminating responsibilities.[48]
Despite its troubled existence, the OWI is widely considered to be influential in the Allied victory and mobilizing American support for the war domestically.
↑ FBI Report, "Owen Lattimore, Internal Security – R, Espionage – R," September 8, 1949 (FBI File: Owen Lattimore, Part 1A), p. 2 (PDF p. 7): Six years prior to the Barmine revelations in his 1948 interview, the FBI had already compiled a thick security dossier on Lattimore at the onset of World War II, recommending that he be put under "Custodial Detention in case of National Emergency."
↑ Testimony of Alexander Barmine, July 31, 1951, U. S. Congress, Senate Committee on the Judiciary, Internal Security Subcommittee, Institute of Pacific Relations, Hearings, 82nd Congress, First Session (Washington: Government Printing Office, 1951), Part 1, pp. 199–200
Why We Fight is a series of seven propaganda films produced by the US Department of War from 1942 to 1945, during World War II. It was originally written for American soldiers to help them understand why the United States was involved in the war, but US President Franklin Roosevelt ordered distribution for public viewing.
Owen Lattimore was an American Orientalist and writer. He was an influential scholar of China and Central Asia, especially Mongolia. Although he never earned a college degree, in the 1930s he was editor of Pacific Affairs, a journal published by the Institute of Pacific Relations, and taught at Johns Hopkins University from 1938 to 1963. He was director of the Walter Hines Page School of International Relations from 1939 to 1953. During World War II, he was an advisor to Chiang Kai-shek and the American government and contributed extensively to the public debate on U.S. policy toward Asia. From 1963 to 1970, Lattimore was the first Professor of Chinese Studies at the University of Leeds in England.
Alexander Grigoryevich Barmin, most commonly Alexander Barmine, was an officer in the Soviet Army and diplomat who fled the purges of the Joseph Stalin era for France and then United States, where he served the US government and also testified before congressional committees.
Mission to Moscow is a 1943 propaganda film directed by Michael Curtiz, based on the 1941 book by the former U.S. ambassador to the Soviet Union, Joseph E. Davies.
Elmer Holmes Davis was an American news reporter, author, the Director of the United States Office of War Information during World War II and a Peabody Award recipient.
The Office of Censorship was an emergency wartime agency set up by the United States federal government on December 19, 1941, to aid in the censorship of all communications coming into and going out of the United States, including its territories and the Philippines. The efforts of the Office of Censorship to balance the protection of sensitive war related information with the constitutional freedoms of the press is considered largely successful.
Prelude to War is the first film of Frank Capra's Why We Fight film series commissioned by the Office of War Information (OWI) and George C. Marshall. It was made to educate American troops of the necessity of combating the Axis powers during World War II based on the idea that those in the service would fight more willingly and ably if they knew the background and the reason for their participation in the war. The film was later released to the general American public as a rallying cry for support of the war.
The Psychological Warfare Division of Supreme Headquarters Allied Expeditionary Force was a joint Anglo-American organization set-up in World War II tasked with conducting (predominantly) white tactical psychological warfare against German troops and recently liberated countries in Northwest Europe, during and after D-Day. It was headed by US Brigadier-General Robert A. McClure. The Division was formed from staff of the US Office of War Information (OWI) and Office of Strategic Services (OSS) and the British Political Warfare Executive (PWE).
The Purple Heart is a 1944 American war film, produced by Darryl F. Zanuck, directed by Lewis Milestone, and starring Dana Andrews, Richard Conte, Don "Red" Barry, Sam Levene and Trudy Marshall. Eighteen-year-old Farley Granger had a supporting role.
During American involvement in World War II (1941–45), propaganda was used to increase support for the war and commitment to an Allied victory. Using a vast array of media, propagandists instigated hatred for the enemy and support for America's allies, urged greater public effort for war production and victory gardens, persuaded people to save some of their material so that more material could be used for the war effort, and sold war bonds.
Britain re-created the World War I Ministry of Information for the duration of World War II to generate propaganda to influence the population towards support for the war effort. A wide range of media was employed aimed at local and overseas audiences. Traditional forms such as newspapers and posters were joined by new media including cinema (film), newsreels and radio. A wide range of themes were addressed, fostering hostility to the enemy, support for allies, and specific pro war projects such as conserving metal and growing vegetables.
Propaganda for Japanese-American internment is a form of propaganda created between 1941 and 1944 within the United States that focused on the relocation of Japanese Americans from the West Coast to internment camps during World War II. Several types of media were used to reach the American people such as motion pictures and newspaper articles. The significance of this propaganda was to project the relocation of Japanese Americans as matter of national security.
Beyond the Line of Duty is a 1942 American short propaganda film, directed by Lewis Seiler. The documentary film reenacted the life and career of United States Army Air Corps Captain Hewitt T. "Shorty" Wheless.
The diplomatic history of World War II includes the major foreign policies and interactions inside the opposing coalitions, the Allies of World War II and the Axis powers, between 1939 and 1945.
Scrap the Japs is a 1942 American anti-Japanese cartoon with the popular character Popeye as protagonist. It follows his adventures after being sent for punishment on a ship and running into Japanese sailors.
The third presidential term of Franklin D. Roosevelt began on January 20, 1941, when he was once again inaugurated as the 32nd president of the United States, and the fourth term of his presidency ended with his death on April 12, 1945. Roosevelt won a third term by defeating Republican nominee Wendell Willkie in the 1940 United States presidential election. He remains the only president to serve for more than two terms. Unlike his first two terms, Roosevelt's third and fourth terms were dominated by foreign policy concerns, as the United States became involved in World War II in December 1941.
The foreign policy of the United States was controlled personally by Franklin D. Roosevelt during his first and second and third and fourth terms as the president of the United States from 1933 to 1945. He depended heavily on Henry Morgenthau Jr., Sumner Welles, and Harry Hopkins. Meanwhile, Secretary of State Cordell Hull handled routine matters. Roosevelt was an internationalist, while powerful members of Congress favored more isolationist solutions in order to keep the U.S. out of European wars. There was considerable tension before the Attack on Pearl Harbor in December 1941. The attack converted the isolationists or made them irrelevant. The US began aid to the Soviet Union after Germany invaded it in June 1941. After the US declared war in December 1941, key decisions were made at the highest level by Roosevelt, Britain's Winston Churchill and the Soviet Union's Joseph Stalin, along with their top aides. After 1938 Washington's policy was to help China in its war against Japan, including cutting off money and oil to Japan. While isolationism was powerful regarding Europe, American public and elite opinion strongly opposed Japan.
Propaganda in World War II had the goals of influencing morale, indoctrinating soldiers and military personnel, and influencing civilians of enemy countries.
(John) Wallace Carroll was an American journalist, newspaper editor, and publisher, known for his 1968 editorial “Vietnam — Quo Vadis?” which called for an end to the Vietnam War and influenced President Lyndon B. Johnson’s initial withdrawal of troops from the conflict. Carroll at the time was the editor and publisher of the Winston-Salem Journal and Sentinel (1963-1974). Recognized as among the best of his generation of journalists, Carroll had previously worked as news editor for the Washington Bureau of The New York Times (1955-1963), as executive editor of the Winston-Salem Journal and Sentinel (1949-1955) and as a foreign correspondent for United Press in Europe (1929-1942). From 1942 to 1945 he headed the European division of the United States Office of War Information, charged with all propaganda efforts aimed at Nazi-conquered Europe during World War II. He was also the father of journalist John Carroll, the former editor of the Baltimore Sun, the Philadelphia Inquirer and the Los Angeles Times.
WWII propaganda in the southern United States was a complex interplay of wartime messages and regional racial dynamics. As the United States government disseminated information to bolster the war effort against the Axis Powers, the unique social landscape of the American South led to distinct consequences. The propaganda campaigns not only fueled nationalism but also catalyzed social changes, contributing to racial tensions and laying the groundwork for future civil rights movements.
References
Allan Winkler, The Politics of Propaganda: The Office of War Information, 1942–1945 (New Haven: Yale University Press, 1978).
Howard Blue, Words at War: World War II Radio Drama and the Postwar Broadcast Industry Blacklist (Lanham, Maryland: Scarecrow Press, 2002).
Jack L. Hammersmith, "The U.S. Office of War Information (OWI) and the Polish Question, 1943–1945" (The Polish Review 19, no. 1 (1974)). JSTOR25777179
Koppes, Clayton R. and Gregory D. Black. Hollywood Goes to War: How Politics, Profits and Propaganda Shaped World War II Movies (Berkeley: University of California Press, 1990). ISBN978-0520071612.
Matthew D. Johnson, "Propaganda and Sovereignty in Wartime China: Morale Operations and Psychological Warfare under the Office of War Information" (Modern Asian Studies 45, no. 2 (2011)). http://journals.cambridge.org/abstract_S0026749X11000023
Sydney Weinberg, "What to Tell America: The Writers' Quarrel in the Office of War Information" (The Journal of American History 55, no. 1 (1968)). JSTOR1894252
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