I Want You for U.S. Army Uncle Sam WWII War Propaganda Art Print Poster. I Want YOU!” – The Story of James Montgomery Flagg's Iconic Poster - Illustration Chronicles. Our posters are carefully and professionally replicated from vintage originals. Crafting with precision, we also aim to preserve a traditional feel, thus, minor flaws, bends, scrapes, tears, or stains that were part of the original artistry may be present. These imperfections may be visible in our larger views of the product on the listing. Some of the posters we offer can be extremely expensive, so our reproductions are intended to be a cost-effective, entertaining alternative, not the same as fine art prints.The Poster is super easy to install. It will stick to any smooth wall for years. It can be removed years later and not damage the wall. Sizes larger than 60" x 34" will be printed in panels with a 1/4" overlap for easy installation.Please contact us if you have a specific-sized wall for pricing.See below for installation videos. Product Description:The decal can be removed at any time with no residue.Great if you are renting or simply want to change your look later. Our material is a matte fabric material that looks natural on the wall100% safe inks and material.Easy to install: all decals are shipped with instructions. We stand behind our work and many 5-star ratingsGUARANTEEIf for any reason you're unhappy with the decal, then please return it to us for a full refund. If the decal arrives damaged, please let us know right away, and we can send you a replacement or a new decal if necessary.FAST SHIPPING:Made in Canada. All orders Ship within 1-2 business days, Domestic orders delivery times are 4-7 days, and International orders delivery times are 5-7 days. All orders are shipped with a tracking number. CONTACT US:If you have any questions please reach out to us. We love working with customers to create a special

"Nyet!" says the Russian turning away the very tempting vodka in this repro of a 1951 Soviet propaganda poster. He knows you've got to be sober to help the Motherland! It's pulptastic, comrades! Printed with a 10 color process using archival pigment ink on premium quality 265+ gm/69+ lb luster finish professional photo paper. The paper's luster/satin finish is specially designed to bring out details in print and avoid glare. Prints typically will have a small white border to maintain the proportions of the original image. Note: Because these are repros of vintage book covers, magazine covers, and posters, there may be imperfections (creases, rubbings, other marks, blurred small print, etc.) in the image if they appeared in the original. PulptasticPrint watermark that appears in online images will NOT be in the actual prints. Discounted prices available on bulk orders: - buy 10-14 prints, get 10% off — enter CODE10 at checkout - buy 15-19 prints, get 15% off — enter CODE15 at checkout - buy 20 prints or more, get 20% off — enter CODE20 at checkout Most prints are available in the following standard American and European sizes: 4x6 in |10.16 x1 5.24 cm A6 - 4.1 x 5.8 in |10.5 x 14.8 cm 5x7 in | 12.7 x 17.7 cm A5 - 5.8 x 8.3 in |14.81 x 21.01 cm 8 x 10 in | 20.3 x 25.4 cm 8.5 x 11 in | 21.6 x 27.9 cm A4 - 8.25 x 11.75 i. | 21.0 x 29.7 cm 10 x 13 in | 25.4 x 33 cm 11 x 14 in | 27.9 x 35.5 cm A3 - 11.75 x 16.5 in | 29.7 x 42.0 cm 11 x 17 in | 27.9 x 43.2 cm A3+ - 13 x 19 in | 33 x 48.2 cm But if you want a custom size (no larger than 13 x 19”) just ask. I’m happy to work with you to get you what you want! - Each item is individually printed by me in my studio, not farmed out to a print-on-demand business, to ensure quality control - Flat rate shipping — one price no matter how many you order - Please note: most prints have a small white border to maintain the proportions of the original image.

Giclee printed posters on high quality archive satin photo papers with white 1/4inch border produced by our own professional printing company. Also posters on museum quality 395gsm cotton-poly Matte Canvas, either wrapped around a solid wooden frame or rolled in a tube for you to wrap or frame yourself. Quality and attention to detail is our priority. Packed by hand and shipped USPS 1st class mail to you normally within 1-3 working days (Canvas 3-5 days) of receiving your order. Buy with confidence. We are sure you will love your poster which will be a superb addition to any wall in either you home or office. Paper Sizes Available: 12”x18” Canvas Sizes Available: 12”x16”, 16”x20” THIS POSTER IS UNFRAMED Canvas wrapped prints are only available in the USA and Canada. All other Countries, orders only accepted for canvas prints rolled in a tube due to shipping costs. If you want to pay the extra for shipping, we will print, wrap and ship.

Illustrations on how to be a model citizen, inspired by Chinese propaganda posters from the '80s

ww2 ww1 The function of Female representation in British World War Two propaganda Chapter One The Purpose of Propaganda The concept of Propaganda Aulich describes war propaganda “as instruments for promoting and disseminating war aims, social cohesion, ideological purpose and various forms of citizenship” (Aulich, J, 2007:2 War Posters: weapons of mass communication, London, Thames & Hudson). British World War One and Two propaganda was a form of mass communication that aimed to effectively communicate to an individual. It was a strong tool used as influential material, it encouraged men and women’s involvement in the war, in terms of the War’s productivity and often categorised roles for both men and women. This ability to convey messages to the general public was simple enough, it was the communicating to each one as an individual where lay the success of War propaganda. War propaganda has been described as ‘Weapons of War’ as it played such a large role regarding war recruitment. During both World War One and Two, The Government hired advertising agencies to help produce campaigns that swayed opinions, encouraging the public to join the War forces. Propaganda campaigns throughout World War One began to grow negative connotations, due to issues of its relevance and truth behind the messages, being raised. “The study of propaganda in the twentieth century came to the fore in the aftermath of the First World War. The widespread employment of methods to alter public opinion stimulated both interest in its usefulness and fears about its power to manipulate the public. During the conflict, rumours had abounded on both sides pertaining to the atrocities carried out by the other. In an effort to understand these issues, writers have sought to dissect the incidences of propaganda and formulate definitions based upon the reasons and the results of these attempts at manipulation.” (Wilcox, D, 2005:9 Propaganda, the Press and Conflict, New York, Routledge) Although such responses and analysis of the power of propaganda could cause it’s usage to be questioned and possibly deteriorate, propaganda continued to exist throughout World War Two through advertising agencies such as, The British Political Warfare Executive. It’s powerful manipulation of public opinion, perhaps feared, was very effective when regarding the recruitment for World War One and Two. The “interest in it’s usefulness” clearly overcame the “fear about it’s power to manipulate the public”. What was more constructive towards War recruitment was the achievement that gained more importance. Authorities such as The British Political Warfare Executive had the power and ideological state to overlook the questions and fears arising from propaganda, it’s “power to manipulate public opinion” was so much more interesting and useful to those in the position free from that very affect. Especially throughout the Second World War, it also played a part in communicating proper behaviour amongst War zones. It expressed simple instructions that aimed to deal with blackouts, lack of food, savouring food etc… Although, it still portrayed that motivation, aiming to encourage and hopefully enlist everyone able. War Aims What were the aims behind the production of War propaganda? It claimed to have the ability to construct ‘social cohesion’, why is this idea of ‘social cohesion’ necessary? “There are two main reasons for people wishing to join themselves into a group; to achieve a shared goal or oppose a common threat and to feel a sense of belonging and security” (Buton, G 1998:102, More Than Words, an introduction into communication, USA, Routledge). The reason to achieve a shared goal could be more likely to stem from the producers of the propaganda. Taking part in and there being a chance of success within the Wars would mean having a bigger, stronger army. By 1937 200, 000 soldiers had joined the armed forces, however the Government knew this wasn’t enough When the Second World War broke out in 1939, 875,000 had joined the British Army, which still seemed too little. By October 1939, it was a requirement that any men aged between 20 and 23 had to enlist, and any men between the ages 18 and 65 would be encouraged to do so as well. Therefore promoting through propaganda and encouraging ‘social cohesion’ would encourage men and women to commit towards the war and therefore greaten their chance of being successful whilst fighting in both World War One and Two. Propaganda is persuasion, if you can “persuade others to join you, then the influence of the group can be greater than the separate efforts of lots of individuals” (Buton, G 1998:102, More Than Words, an introduction into communication, USA, Routledge). A group being more influential the more that are in it, is much what propaganda aimed to communicate. This idea that “the influence of the group can be greater than the separate efforts of lots of individuals” (Buton, G 1998:102, More Than Words, an introduction into communication, USA, Routledge), links into justifying another reason for joining a group, “to have a sense of belonging and security” (Buton, G 1998:102, More Than Words, an introduction into communication, USA, Routledge). Viewers of propaganda were often persuaded into joining the army, due to fear of not being involved. Studying the World War 1 propaganda poster, there is an obvious group being portrayed. A line of soldiers who almost seem repeated, all looking alike and wearing the same uniform. The question, ‘Will you fit it?’ not only persuades the reader to feel they can fit the position; it also creates a situation where the reader is clearly not involved in. These method not only makes the reader feel left out, it also makes the group the reader is currently in, seem not the one he should be in. Similarly we have the same style image from a British World War Two poster. The image shows a group of soldiers in the background, a lot like the ones in the World War One poster. Guilt is an another idea expressed through this, ‘Who’s Absent?”, communicating again this idea of non involvement in a group. Using the word ‘Absent’ gives the reader an idea that he should be there, he is isolated from the group featured in the image, he feels like an outsider, observing and reading from the outside. This strong sense of withdrawal gained from viewing both examples of propaganda can easily fit into the category of ‘manipulation of public opinion’, this idea of highlighting a group as a way of luring in those who weren’t currently involved in it. (WW1) (WW2) Approached through guilt, the feeling of not being part of a group could be persuasive enough for any individual. So the aims of the producers of the propaganda drove the production of it, whilst the longing to be part of the ‘group’ is what made propaganda successful. Two different aims and beliefs are what enabled propaganda to be an effective communicative tool, producing it through ideological states of mind. There exists “a thoroughly negative meaning in western countries, representing the intentional dissemination of often false, but certainly ‘compelling’ claims to support or justify political actions or ideologies” (Avant-Garde Magazine (AGm), 30th January 2011, Propaganda ‘http://avant-gardes.com/2011/01/propaganda/’ ). Propaganda was approached and received differently by different people. An audience holds a variety of beliefs, opinions and roles within society, which become the structure behind Ideology. When propaganda is communicated to an audience, considerations into these different backgrounds can clearly be seen. The producers of propaganda would have different views and beliefs to those receiving it, the material used to produce propaganda would be a “body of ideas articulated by a particular group of people” (Storey, J 1997:3 An Introduction into Cultural Theory and Popular Culture, UK, MPG Books Ltd). One of propaganda’s purposes was to recruit, so automatically the status of those behind the material are seemed as more authoritative, in their case, their ‘particular group’ is that of a higher status. Those with this higher status do not wish to recruit themselves, they have no reason to communicate to each other. Their position in society is to rule over those with less authority, enabling them to produce material that makes this possible. Their approach to War appears different to the audience they are communicating to. This ‘particular group’s’ success would lye in their understanding and ability to connect with the other ‘particular group’. The group that appear to have a higher status (the producers of propaganda), are able to create and “present distorted images of reality” (Storey, J 1997:3 An Introduction into Cultural Theory and Popular Culture, UK, MPG Books Ltd) through propaganda. The ideological approach presents them with images that connote messages only they have the ability to conjure. Therefore, for viewers other than themselves, the images and messages shown through propaganda could be seen as distorted. They are rendered and manipulated so able to work effectively and appropriately. When regarding ideological approaches, we can never be sure which images are truthful, as each derives from varied opinions/beliefs. However, could propaganda work within the “interests of the powerful against the interest of the powerless” (Storey, J 1997:3 An Introduction into Cultural Theory and Popular Culture, UK, MPG Books Ltd). Does the higher status of those producing the propaganda enable them to conceal their hidden goals and aims, through communicating these ‘distorted images’ to those less powerful? The viewers of the propaganda, the less powerful ‘group’s beliefs of what is being portrayed through the propaganda could relate to what they want to achieve, that being, ‘social cohesion. “In wartime, truth is so precious that she should always be attended by a bodyguard of lies. Winston Churchill, British Prime Minister during World War II” (http://www.globalissues.org/article/157/war-propaganda-and-the-media) Metaphorically taking the ‘bodyguard of lies’ and transforming that into a representation of propaganda, the hidden connotations behind propaganda itself could be explored. In war time defining an ideological state could be the “usage intended to draw attention to the way in which texts (fiction, novels, radio, art etc…) always present a particular image to the world (Storey, J 1997:5 An Introduction into Cultural Theory and Popular Culture, UK, MPG Books Ltd). The idea of protecting the truth by surrounding it with lies could potentially be the purpose of propaganda. The result of successful propaganda being that, that presents a ‘particular image’ to the world. Simplifying ideological groups into two participating groups (the producers and the receivers), the methods behind propaganda become clearer. With status, comes knowledge, regarding Churchill and his quote, it’s clear he, like other authorities, knew the truth but chose to parade it hidden amongst lies. Whether it relates directly to the usage of propaganda or not, it’s relevance to World War One and Two, in general, is apparent. Is it knowledge of the truth that actually enabled those with more status to lie? Therefore, the producers of had power over those viewing it. Conversely, does surrounding the truth with lies, producing propaganda through specific, one-sided beliefs glue a society together? Is creating social cohesion a necessity that allows such manipulation to take place. “Marx argues that each significant period in history is constructed around a particular ‘mode of production’; that is, the way in which a society is organised (i.e slave, feudal, capitalist) to produce the necessaries of life” (Storey, J 1997:101 An Introduction into Cultural Theory and Popular Culture, UK, MPG Books Ltd). Considering World War One and Two as significant periods in history, would the purpose of propaganda, and the methods behind it’s production also fall into producing “the necessaries of life”. To create social cohesion, an idea of a ‘group’ needs to be made accessible. However, without the ‘producers’, then this idea of what is needed to contribute to the ‘mode of production’ would never be delivered to those who need to view it. Propaganda’s role could be seen as simply the messenger, between two social groups. The authorities conjure the appropriate message, perhaps disregarding everything or almost everything truthful. Sieving out what is necessary and ‘surrounding it with lies’ to ensure success, fulfilling ‘the necessaries of life’ and communicating an effective message. Whilst the propaganda obtains this information, this persuasion, the other social group (the viewers) respond to this. Through guilt and desire to be part of a ‘group’, they react, joining the army, responsibly producing ‘the necessaries of life’, contributing to the War.

Propaganda has been a powerful tool used throughout history. But how does it really work? And is it only used to trick people into believing certain things? When we hear about it, do we think only about past historic events or can we think of an example of seeing propaganda in today’s world?

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A persuasive writing and speaking activity for kids focused on identifying propaganda while watching TV.

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Examples of the famous 'careless talk costs lives' warning are among a newly unearthed and rare, mint condition collection of 200 posters produced by the Ministry of Information.

Who is Uncle Sam? History of famous Uncle Sam "I Want You" WWI poster, plus best Uncle Sam propaganda and Army recruitment posters.

in response to russia's controversial gay propaganda law, the series of 'pride propaganda' posters has been repurposed from original soviet propaganda images.

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With World War II now more than sixty years ago, it's easier to appreciate the propaganda posters of the era for their artistic merit. Allied posters of the age aimed to influence citizens to...

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Patriotic World War I postcard.

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War is hell, and tragedy, and terrible, terrible posters.

Propaganda machista das gravatas Van Heusen. Mulher é apresentada como submissa ao marido nos anos 50.

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