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

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

During World War 2, and for a period beyond, the Allies generated 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 of media 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 towards the enemy, support for the allies, and specific pro-war projects such as conserving metal, waste, and growing vegetables. For more information, and for earlier examples, see part 1 also. This is part 2 of a 9 - part post on World War 2 propaganda posters: 1941-45 Taber To Victory! With Our Help ( Canada ) 1941-45 The Lives Of These Men Depend On Your Work ( USA ) 1942 Abram Games Use Spades, Not Ships. Grow Your Own Food And Supply Your Own Cookhouse ( UK ) 1942 Albert Dorne Somebody Blabbed. Button Your Lip! ( USA ) 1942 Alfred Parker "Even A Little Can Help A Lot - Now" Buy U.S. War Stamps Bonds ( USA ) 1942 Recycling Series: 1942 America Needs Your Scrap Rubber ( USA ) 1942 Get In The Scrap ( USA ) 1942 Save Waste Fats ( USA ) 1942 Win With Tin ( USA ) 1942 Back Them Up! ( UK ) 1942 Back Them Up! ( UK ) 1942 C. E. Turner Back Them Up! ( UK ) 1942 Harold Pym Back Them Up! ( UK ) 1942 Breaking The Bottleneck ( USA ) 1942 C. C. Beall Don't Throw Away Ammunition! ( USA ) 1942 Czechoslovakia Will Live Again ( USA ) 1942 Dan V. Smith and Albro F. Downe Keep 'Em Flying Is Our Battle Cry! ( USA ) 1942 David Stone Martin Strong In The Strength Of The Lord ( USA ) 1942 Do You Want To Lose The War? Illustrated by R. Patterton: 1942 E. McKnight Kauffer Greece Fights On ( USA ) 1942 Eric Aldwinckle and Albert E. Cloutier Lick Them Over There! Come On Canada! ( Canada ) 1942 For Carelessness, I Gif Nice Medal ( USA ) 1942 Fred Ludekens He's a Fighting Fool, Give Him The Best You've Got. More Production ( USA ) 1942 Gerald Lacoste Keep Mum, She's Not So Dumb! Careless Talk Costs Lives ( UK ) 1942 Glenn Ernest Grohe He's Watching You ( USA ) 1942 Henry Koener Someone Talked! ( USA ) 1942 Herbert Roese More Production ( USA ) 1942 Illicox To Victory ( Canada ) 1942 It Can Happen Here ( USA ) 1942 J. Howard Miller We Can Do It! ( USA ) 1942 John Coakley Better Work To Win! ( USA ) 1942 John Coakley Our Fight Is Right Here, Work To Win ( USA ) 1942 John Coakley Step On 'Em, Work To Win ( USA ) 1942 John Falter It's A Woman's War Too! Join The Waves ( USA ) 1942 John Falter More Production ( USA )

Download Image of TOGETHER WE CAN DO IT - KEEP `EM FIRING - NARA - 515856. Free for commercial use, no attribution required. Picryl description: Public domain historical photo of Second World War, free to use, no copyright restrictions image.. Dated: 1941 - 1945. Topics: united states, wwii, war posters, posters, propaganda posters, world war ii posters from the united states, national archives and records administration, high resolution, world war 2, wwii photographs

During the Second World War, propaganda posters in the United States were commonly seen on a walk or commute to work, a trip to the store, in a newspaper or…

Posters from the Australian War Memorial’s extensive collection show how graphics were used to sell conflict

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”, 16"x24", 18"x24" and 24"x36" Canvas Sizes Available: 12”x16”, 16"x20", 18"x24" and 24"x36" 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.

During World War 2, and for a period beyond, the Allies generated 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 of media 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 towards the enemy, support for the allies, and specific pro-war projects such as conserving metal, waste, and growing vegetables. For more information see part 1. For other works see parts 1 - 8 also. This is part 9 of a 9 - part post on World War 2 propaganda posters: Simple Sam The wasting fool... ( USA ) Sink a Sub from your farm Bring in your SCRAP ( USA ) So that the flow doesn't stop! ( Canada ) Somebody Talked ( USA ) Stamp 'em out! Beat your promise ( USA ) Stand Firm! ( UK ) Starve him with Silence ( USA ) Stop Loose Talk - Rumors ( USA ) STOP loose talk to strangers ( UK ) Taber Be Ready ( Canada ) Taber They're smashing them up... with MY ship! ( Canada ) Tell Nobody - not even Her ( USA ) The attack begins in the factory ( UK ) The enemy laughs when you loaf ( USA ) The enemy listens Your words are his weapons ( New Zealand ) The sun is rising in the West Stop the Japanese encroachment ENLIST ( USA ) There's a gap in the line when you're absent Stay on the job! ( USA ) This plant is operating on war time Make every minute count ( USA ) Time is short Every minute counts ( USA ) Together ( UK ) Together we can do it! Keep 'em firing! ( USA ) Together we shall strangle Hitlerism ( UK ) Together we shall strangle Hitlerism ( UK ) Too little Too late… ( USA ) Tools are Scarce Treat 'em Right! ( USA ) Trevor Big guns of the home front Action stations Everyone ( Canada ) Tudor Your Scrap ... brought it down ( USA ) Turn that gas down ( UK ) U.S. needs us strong Eat nutritional food ( USA ) Unite ( UK ) United we stand Divided we fall Beat the promise ( USA ) Unity brings Victory ( UK ) Unless we can divide those two fellows - we're sunk! ( UK ) Wanted Magazines for our fighting men ( Canada ) War Savings Certificates We beat 'em before... We'll beat 'em again! ( UK ) We want Rags for Vital war needs ( Canada ) Don't waste good food! ( USA ) When? It's up to you! ( Canada ) White Reinforcements are coming up ( UK ) William F. Moore Reveille for workers Taps for Japs ( USA ) Let's Go - Wings for Victory ( UK ) Women of Britain Come into the factories ( UK ) Women Wanted as Ambulance Drivers ( UK ) Women's Land Army ( UK ) Your Victory Garden counts more than ever! ( USA )

A look at British propaganda posters of World War II.

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.

Image No: M-890-20 Title: Second World War patriotic poster: "Help Britain finish the Job". Date: [ca. 1939-1945] Remarks: Collected by Leonard Nesbitt. Subject(s): World War, 1939-1945 - Posters Order this photo from Glenbow: ww2.glenbow.org/search/archivesPhotosResults.aspx?XC=/sea... Search for 99,999 other historical photos at Glenbow: ww2.glenbow.org/search/archivesPhotosSearch.aspx

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The poster was used during world war I by authorities to remind people to be on their guard and to stay vigilant and report anything suspicious. The poster is from our Army Department archive collection. Archives New Zealand Reference: AD1 44/283

Alfred Leete, "Lord Kitchener wants you". Affiche de recrutement éditée par le Parliamentary Recruiting Committee, Angleterre, c. 1915

The enormously successful British propaganda campaign known as "Careless Talk Costs Lives" utilised these cartoon style posters developed by Fougasse aka Cyril Kenneth Bird who was a well-known commercial artist of the period. The various posters show differing situations and were designed to show how passing information might end up in the wrong hands. The posters were commissioned by the Ministry of Information and were deliberately intended to be humorous.

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