In September of 1914, the journalist and politician C.F.G. Masterman
invited Britain's leading novelists to a meeting at Wellington House in
London to discuss writing in support of the war. As the newly appointed
head of the War Propaganda Bureau, one of Masterman's first duties was to
recruit major popular authors of the time to help initiate the campaign to
justify Britain's military involvement in the war. Writers like Doyle even
brought Sherlock Holmes out of retirement to make him a witness to Hun
Critics of Masterman's propaganda called it too literary, too elite, and
too rational, and in 1917 the WPB became superseded by the newly formed
Ministry of Information. The new propaganda had to be more visual, aimed
at the masses, and unafraid to use outright fabrication when needed. When
America broke its neutrality and joined the Allied Cause, Woodrow Wilson
created the Committee on Public Information, later called "the world's
greatest adventure in advertising" by its Chairman George Creel, to
justify America's entry into the war to the American public. Wilson had
won his 1916 election on a "He kept us out of the war" ticket and it was
crucial that he justify the government's change in policy to the public.
Exploring the evolving notions of propaganda during the war means
understanding, in the words of a poem by Wallace Irwin, "How Art put on
khaki and went into action" ("Thoughts Inspired by a Wartime Billboard").
This panel will accept papers on the British and American propaganda
ministries, their materials, their methods, their organisation, and their
influence on popular culture as well as the relationship between
propaganda and advertising after the war and the psychology of British and
American propaganda during the First World War.
All 300 word proposals should be emailed to Anurag Jain at a.c.jain [at]
qmul [dot] ac [dot] uk by September 8th, 2005.