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British Subversive Propaganda during the Second World War

Germany, National Socialism and the Political Warfare Executive

• © 2021
• Kirk Robert Graham 0

School of Historical and Philosophical Inquiry, University of Queensland, St Lucia, Australia

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• Offers a ground-breaking intellectual and cultural history of the Political Warfare Executive and clandestine propaganda during the Second World War
• Draws on German and British archives to analyse the activities undertaken by PWE
• Explores the full range of ideas that informed British thinking on Germany and National Socialism, including transnational discourses on history, psychology, sexuality and religion

Part of the book series: Britain and the World (BAW)

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About this book

This book offers the first in-depth intellectual and cultural history of British subversive propaganda during the Second World War. Focussing on the Political Warfare Executive (PWE), it tells the story of British efforts to undermine German morale and promote resistance against Nazi hegemony. Staffed by civil servants, journalists, academics and anti-fascist European exiles, PWE oversaw the BBC European Service alongside more than forty unique clandestine radio stations; they maintained a prolific outpouring of subversive leaflets and other printed propaganda; and they trained secret agents in psychological warfare. British policy during the occupation of Germany stemmed in part from the wartime insights and experiences of these propagandists.

Rather than analyse military strategy or tactics, British Subversive Propaganda during the Second World War draws on a wealth of archival material from collections in Germany and Britain to develop a critical genealogy of British ideas about Germany and National Socialism. British propagandists invoked discourses around history, morality, psychology, sexuality and religion in order to conceive of an audience susceptible to morale subversion. Revealing much about the contours of mid-century European thought and the origins of our own heavily propagandised world, this book provides unique insights for anyone researching British history, the Second World War, or the fight against fascism.

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Table of contents (8 chapters)

Front matter, introduction: british propagandists and the german problem.

Kirk Robert Graham

The View from Woburn Abbey: The Political Culture of PWE

The brazen horde: british propagandists and the course of german history, germany on the couch: the role of psychology and the social sciences in the development of subversive propaganda, no man so lecherous as the german: nazi perversion and german masculinity in british subversive propaganda, a rebellion against the divinely appointed order: totalitarian theory, secular religions, and religious anti-fascism in british subversive propaganda, the logic of subversive propaganda, epilogue: breaking hearts and minds, back matter.

"Kirk Graham’s book is a valuable contribution to the origins and the understanding of British subversive propaganda in Nazi Germany during the Second World War. Focusing on the activities of the Political Warfare Executive, it demonstrates to what extent these efforts were shaped by the British elite’s deep-rooted prejudices about an authoritarian German national character and how these views even informed the first years of British occupation policy in Germany after 1945."

—  Daniel Siemens , FRHistS, Professor and Chair of European History, Newcastle University, UK

“This impressive and innovative study explores the activities of the Political Warfare Executive in their attempts to destabilise Nazi Germany during the Second World War. Taking a thematic approach, Graham sheds much light on British subversive propaganda, its functions and form, and the assumptions that underpinned its use. From an overall institutional analysis, Graham moves throughthe various biographical and cultural contexts of the propagandists, via several revealing case-studies; culminating in the intellectual context and ‘logic’ of propaganda. British Subversive Propaganda during the Second World War is a book in which readers will not only find much new analysis, but an authoritative and up-to-date engagement with the scholarly literature. It is a valuable addition to the ‘Britain and the World’ series, as well as the broader scholarship on propaganda.”

—  Richard Scully , Associate Dean and Associate Professor in Modern History, University of New England, Australia

"Dr Graham has written a highly readable, well-informed and authoritative account of the largely neglected role played by the Political Warfare Executive and its covert propaganda offensive against Nazi Germany. It represents an outstanding piece of historical scholarship and a major contribution to the growing historiography of propaganda during World War II."

—  David Welch , Emeritus Professor and Honorary Director of the Centre for the Study of War, Propaganda and Society, University of Kent, UK

Authors and Affiliations

About the author.

Kirk Robert Graham  is a historian of modern Europe living on Jagera and Turrbal land.

Bibliographic Information

Book Title : British Subversive Propaganda during the Second World War

Book Subtitle : Germany, National Socialism and the Political Warfare Executive

Authors : Kirk Robert Graham

Series Title : Britain and the World

DOI : https://doi.org/10.1007/978-3-030-71664-6

Publisher : Palgrave Macmillan Cham

eBook Packages : History , History (R0)

Copyright Information : The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerland AG 2021

Hardcover ISBN : 978-3-030-71663-9 Published: 12 August 2021

Softcover ISBN : 978-3-030-71666-0 Published: 13 August 2022

eBook ISBN : 978-3-030-71664-6 Published: 11 August 2021

Series ISSN : 2947-7182

Series E-ISSN : 2947-7190

Edition Number : 1

Number of Pages : XI, 308

Number of Illustrations : 2 b/w illustrations

Topics : History of World War II and the Holocaust , History of Britain and Ireland , History of Germany and Central Europe , Cultural History

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Argument, Persuasion, or Propaganda? Analyzing World War II Posters

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Compare patterns of continuity and change over time, applying context of events.

Compare the interpretation of historical events and sources , considering the use of fact versus opinion , multiple perspectives, and cause and effect relationships.

Evaluate patterns of continuity and rates of change over time, applying context of events.

Evaluate the interpretation of historical events and sources , considering the use of fact versus opinion , multiple perspectives, and cause and effect relationships.

Compare the impact of historical documents, artifacts , and places which are critical to the U.S.

Evaluate the impact of historical documents, artifacts , and places in U.S. history which are critical to world history.

Evaluate how conflict and cooperation among groups and organizations in the U.S. have influenced the growth and development of the world.

• Ethnicity and race
• Working conditions
• Immigration
• Military conflict
• Economic stability

Contrast the importance of historical documents, artifacts , and sites which are critical to world history.

Know that works in the arts can be described by using the arts elements, principles and concepts (e.g., use of color, shape and pattern in Mondrian’s Broadway Boogie-Woogie ; use of dynamics, tempo, texture in Ravel’s Bolero ).

Explain and apply the critical examination processes of works in the arts and humanities.

• Compare and contrast
• Form and test hypotheses
• Evaluate/form judgments

Determine and apply criteria to a person’s work and works of others in the arts (e.g., use visual scanning techniques to critique the student’s own use of sculptural space in comparison to Julio Gonzales’ use of space in Woman Combing Her Hair ).

Examine and evaluate various types of critical analysis of works in the arts and humanities.

• Contextual criticism
• Formal criticism
• Intuitive criticism

Describe and analyze the effects that works in the arts have on groups, individuals and the culture (e.g., Orson Welles’ 1938 radio broadcast, War of the Worlds ).

Identify and/or explain stated or implied main ideas and relevant supporting details from a text.

Note: Items may target specific paragraphs.

Explain, interpret, compare, describe, analyze, and/or evaluate plot in a variety of nonfiction:

Note: Plot may also be called action.

• elements of the plot (e.g. exposition, conflict, rising action, climax, falling action, and/or resolution)
• the relationship between elements of the plot and other components of the text
• how the author structures plot to advance the action

Explain, interpret, compare, describe, analyze, and/or evaluate theme in a variety of nonfiction:

• the relationship between the theme and other components of the text
• comparing and contrasting how major themes are developed across genres
• the reflection of traditional and contemporary issues, themes, motifs, universal characters, and genres
• the way in which a work of literature is related to the themes and issues of its historical period

Explain, interpret, compare, describe, analyze, and/or evaluate voice, tone, style, and mood in a variety of nonfiction:

• the relationship between the tone, style, and/or mood and other components of the text
• how voice and choice of speaker (narrator) affect the mood, tone, and/or meaning of the text
• how diction, syntax, figurative language, sentence variety, etc., determine the author’s style
• Big Ideas Comprehension requires and enhances critical thinking and is constructed through the intentional interaction between reader and text Information to gain or expand knowledge can be acquired through a variety of sources. Artists use tools and resources as well as their own experiences and skills to create art. Historical context is needed to comprehend time and space. Historical interpretation involves an analysis of cause and result. Humans have expressed experiences and ideas through the arts throughout time and across cultures. People have expressed experiences and ideas through the arts throughout time and across cultures. People use both aesthetic and critical processes to assess quality, interpret meaning and determine value. Perspective helps to define the attributes of historical comprehension. The arts provide a medium to understand and exchange ideas. The history of the United States continues to influence its citizens, and has impacted the rest of the world. The skills, techniques, elements and principles of the arts can be learned, studied, refined and practiced. There are formal and informal processes used to assess the quality of works in the arts. World history continues to influence Pennsylvanians, citizens of the United States, and individuals throughout the world today.
• Concepts Essential content of text, including literary elements and devices, inform meaning Essential content, literary elements and devices inform meaning Informational sources have unique purposes. Textual structure, features and organization inform meaning Validity of information must be established. A play’s theme may not always be explicit or easy to put into words, but all plays imply certain philosophical attitudes and convey certain values or beliefs about living. Actors and directors depend on research skills to gain insights into a play’s themes and characters. Artistic teams analyze prior critical response in order to inform their own artistic vision. Artists and students of art frequently engage together in formal critiques of artwork as part of the process of developing their practice. Artists assess the quality of their work using evaluation criteria that is specific to the media, material, or technique. Artists choose tools and techniques that convey emotion and evoke emotional response. Artists create works of art in response to significant events. Artists create works of art that invite multiple interpretations. Artists often address social issues or concerns in their artwork. Artists use various techniques to create strong reactions to their work. Beliefs about the value of particular plays and theatre practices have changed over time and across cultures. Choreographers and dancers can use works in dance to communicate ideas that challenge cultural norms. Comprehension of the experiences of individuals, society, and how past human experience has adapted builds aptitude to apply to civic participation. Conflict and cooperation among social groups, organizations, and nation-states are critical to comprehending society in the United States. Domestic instability, ethnic and racial relations, labor relation, immigration, and wars and revolutions are examples of social disagreement and collaboration. Conflict and cooperation among social groups, organizations, and nation-states are critical to comprehending the American society. Eastern theatre traditions value forms, symbols and practices differently than Western theatre. Groups that have influenced world history had different beliefs, customs, ceremonies, traditions, and social practices. Historical causation involves motives, reasons, and consequences that result in events and actions. Historical causation involves motives, reasons, and consequences that result in events and actions. Some consequences may be impacted by forces of the irrational or the accidental. Historical literacy requires a focus on time and space, and an understanding of the historical context of events and actions. Historical literacy requires a focus on time and space, and an understanding of the historical context, as well as an awareness of point of view. Historical skills (organizing information chronologically, explaining historical issues, locating sources and investigate materials, synthesizing and evaluating evidence, and developing arguments and interpretations based on evidence) are used by an analytical thinker to create a historical construction. Human organizations work to socialize members and, even though there is a constancy of purpose, changes occur over time. Learning about the past and its different contexts shaped by social, cultural, and political influences prepares one for participation as active, critical citizens in a democratic society. Modern technological advances have increased communication between cultures, allowing elements of dance from different cultures to be used by people all over the world. Modern technologies have expanded the tools that dancers and choreographers use to create, perform, archive and respond to dance. Musicians use both aesthetic and critical processes to assess their own work and compare it to the works of others. People engage in dance throughout their lives. People have applied different criteria for assessing quality and value of works of art depending on the place, time, culture, and social context in which the works are viewed. People make judgments about the quality of artwork. People make judgments about the quality of works in dance based on certain criteria. People talk about theiropinions of dance. People use analytic processes to understand and evaluate works of art. People use criteria to decide the quality of a work of art. People use criteria to describe the quality of musical works and/or performances. People use criteria to determine the quality of works of art. People use resources available in their communities to experience and/or engage in theatre throughout their lives. People use resources available in their communities to make music throughout their lives. People who watch theatre later talk about what they have seen. People who watch theatrical performances talk about how they were created. Social entities clash over disagreement and assist each other when advantageous. Textual evidence, material artifacts, the built environment, and historic sites are central to understanding United States history. Textual evidence, material artifacts, the built environment, and historic sites are central to understanding world history. The study of aesthetics includes the examination of the nature and value of art. Theatre artists attend live performances of others work in order to inform their own practice and perspectives. Theatre artists create habits of self reflection and evaluation to inform their work. Theatre artists participate in philosophical discussions to help inform their practice. Theatre artists use both aesthetic and critical processes to assess their own work and compare it to the works of others. There are similarities between works in different arts disciplines from different time periods and different cultures. There are specific models of criticism that people use to determine the quality of musical works. There is a language of criticism people use when discussing the quality of a work of art. There is a language of criticism that people use to determine the quality of musical works. Viewers of art often respond to a work intuitively, using subjective insight. When assessing quality, interpreting meaning, and determining value, one might consider the artist’s intent and/or the viewer’s interpretation. Works in theatre can affect group thought and/or customs and traditions. Artists often create work based on a philosophical position. Technology has the potential to change the way we perceive the value of art.
• Competencies Analyze and evaluate information from sources for relevance to the research question, topic or thesis. Analyze the use of facts and opinions across texts Critically evaluate primary and secondary sources for validity, perspective, bias, and relationship to topic. Evaluate information from a variety of reference sources for its relevance to the research question, topic or thesis. Evaluate organizational features of text (e.g. sequence, question/answer, comparison/contrast, cause/effect, problem/solution) as related to content to clarify and enhance meaning Evaluate the effects of inclusion and exclusion of information in persuasive text Evaluate the presentation of essential and nonessential information in texts, identifying the author’s implicit or explicit bias and assumptions Evaluate the relevance and reliability of information, citing supportive evidence and acknowledging counter points of view in texts Evaluate the relevance and reliability of information, citing supportive evidence in texts Evaluate the use of graphics in text as they clarify and enhance meaning Identify and evaluate essential content between and among various text types Summarize, draw conclusions, and make generalizations from a variety of mediums Synthesize information gathered from a variety of sources. Use and cite evidence from texts to make assertions, inferences, generalizations, and to draw conclusions Analyze a primary source for accuracy and bias and connect it to a time and place in United States history. Analyze a primary source for accuracy and bias, then connect it to a time and place in world history. Analyze and create dance that attempts to question cultural norms. Analyze and interpret a philosophical position and explain how it is manifested in a particular artist’s work. Analyze and interpret the work of a contemporary artist who addresses social issues or concerns. Analyze filmed examples of Eastern theatre traditions, e.g. kabuki or Chinese Opera, to explore cultural philosophical beliefs about beauty. Analyze the interaction of cultural, economic, geographic, political, and social relations for a specific time and place. Analyze the techniques used by a controversial artist and explain how the techniques affect audience response. Analyze their own performances and compositions and make judgments about their own works as compared with those of other performers and composers. Articulate opinions about what makes art “good”. Articulate the context of a historical event or action. Attend a live performance and identify ways in which the actors used the elements of theatre to tell the story. Construct a critical analysis that compares an interpretation of two works art: one that relies heavily on the artist’s intent for interpretation, and one that relies solely an individual interpretation. Construct an intuitive critical response to a work of art based on subjective insight. Contrast how a historically important issue in the United States was resolved and compare what techniques and decisions may be applied today. Create a multimedia presentation designed to guide the viewer through analysis of a work using formal, contextual and intuitive criticism. Create a work of art in response to a historical event that has personal significance. Create, rehearse, reflect and revise to prepare and film a performance, then respond to that performance using intuitive and formal criticism. Define criteria that describe the quality of a performance. Describe the nature and value of a particular work of art using terms from aesthetics. Describe the role of inventions in the history of art, e.g. how the invention of the camera influenced the valuation and perception of paintings. Document viewers’ interpretations of their artwork. Evaluate cause-and-result relationships bearing in mind multiple causations. Evaluate the quality of a finished print using criteria appropriate for a specific type of printmaking (engraving, intaglio, linocut, etc.). Explain how artists choose tools and techniques to convey emotion and evoke emotional response. Explain similarities between works in dance, music, theatre and visual arts in various cultural and historical contexts. Explore modern performances of plays considered controversial or unacceptable in their time, e.g. The Doll’s House, and compare and contrast first-person accounts of critical response and audience reaction with responses today. Identify basic criteria that people use to assess the quality of works in dance. Identify characteristics of different types of artistic criticism: contextual, formal and intuitive. Identify opportunities to continue to be involved in dance after graduation. Identify post-graduation opportunities to be part of the musical community as audience members, amateur musicians or professional musicians. Identify post-graduation opportunities to be part of the theatre community as audience members, advocates, and amateur or professional theatre artists. Identify reason(s) for calling a work of art “good.” Identify the criteria by which a work of art would have been evaluated in its original historical, cultural or social context and compare it to criteria used to assess quality and value today. Identify the criteria that describe the quality of musical works and/or performances. Identify, describe and analyze plays or theatre works through history which have changed cultural attitudes, e.g. Teatro Campesino or Orson Welles’ War of the Worlds broadcast. In production teams, create a unified production concept using critical response to explore meaning and theme. Participate in a formal critique with peers to assess the developing qualities in their own artwork. Read a non-traditional or abstract play from a theatre movement such as the Theatre of the Absurd (Beckett, Genet, etc.) and describe the philosophical attitudes the play implies. Read critical analysis and identify and attend a variety of regional theatre offerings. Read, analyze and respond to philosophical thought concerning the role of theatre in contemporary society. Research plays and scenes in context and analyze the plays’ historical and cultural connections to determine the author’s intent. Summarize how conflict and compromise in United States history impact contemporary society. Synthesize elements of different cultural dance forms to create new, original works in dance. Talk about their opinions of various dances using appropriate vocabulary. Use a basic vocabulary of artistic criticism to discuss the quality of musical works. Use a basic vocabulary of artistic criticism when viewing and discussing many different types of art. Use contemporary web technologies to archive and analyze their own and others’ performances, then use formal models of criticism to make judgments and compare and contrast their work with the work of others. Use modern technology tools to create, perform, archive and respond to dance. Use theatre vocabulary to label elements of a performance: costumes, props, stage, etc.

Description

In this lesson plan, students analyze World War II posters, chosen from online collections, to explore how argument, persuasion and propaganda differ. The lesson begins with a full-class exploration of the famous "I WANT YOU FOR U.S. ARMY" poster, wherein students explore the similarities and differences between argument, persuasion, and propaganda and apply one of the genres to the poster. Students then work independently to complete an online analysis of another poster and submit either an analysis worksheet or use their worksheet responses to write a more formal essay.

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Women and war posters.

How were women depicted during the WWI and WWII through propaganda posters? What kinds of messages do these posters send women? How are women recruited for the military today?

• Here are 10 propaganda posters depicting women, taken from WWI and WWII. Get into groups and analyse each poster, focusing on the five aspects listed below. Compare your analysis of each poster to the analyses provided. What do you think were the effects of these posters on women during these wars?

Call to action: How does each poster speak to women and call them to action? What are they expected to do in response to each poster?

Typography : Fonts come in serif, sans-serif, large, small, bold and italics. What does the typography say about the message of each poster?

Symbolism : What kinds of symbols are used in each poster? What do these symbols stand for, and how to they contribute to the message of each poster?

Idealisation : How are people, objects, places and things idealised? What ideals are represented in each poster?

Artistic style : How does the style of the artist's artwork contribute to the text's message?

Text 1: 'Women of Britain' by Parliamentary Recruiting Committee, 1914

Analysis of Text 1

Call to action : Women should encourage their husbands to leave home and fight in the war.

Typography : White font is contrasted on blue sky. Underlining, capitals exclamation mark and quotation marks add emphasis to message.

Symbolism :- Windowsill resembles ‘home’. The horizon is about the future.

Idealisation : Men march orderly, closely and uniformly. Women and children are close together. The mother is beautiful. The children are groomed.

Artistic style :  Soft colours with light on the mother suggest she is the centre point. Yellow dress shows she is brave and bold. Mother looks worried but in command.

Text 2: 'Knit your bit' by American Red Cross, 1918

Analysis of Text 2

Call to action:  Women should knit socks for the soldiers.

Typography:  The reds, whites and yellows all stand out against the use of black. Sans- serif fonts and capitalized letters are easy to read. ‘SOX’ stretches across the length of the poster, emphasizing the need for a simple clothing item.

Symbolism:  The Red Cross itself is a symbol of help and healing. The knitting needles are a sign of homeliness.

Idealisation:  The knitting basket is simple. The yarn looks soft.

Artistic style:  There is a sense of depth with the red cross behind the yarn and the letters at the foundation. The words, and therefore the message, is stronger than any drawings.

Text 3: 'Come into the factories', 1941

Analysis of Text 3

Call to action:  Women should seek jobs in factories to produce planes and ammunition for the war.

Typography: The white, sans-serif letters stand tall, like the woman, on a black foundation.

Symbolism:  Planes symbolise the war effort. The smokestacks symbolise the industrious factories.

Idealisation: The planes fly in neat rows to infinity, suggesting and endless production line. The woman is the ideal worker: happy and healthy.

Artistic style: The light shines on the back of the woman. The red sky suggests the sun is setting or rising. Her body language celebrates the flying machines she has helped create. The camera angle looks up to the sky and the glory of the Air force.

Text 4: 'Your Red Cross Needs You' 1942

Analysis of Text 4

Call to action: Women should become  nurses and listen to their country’s call.

Typography: The letters stand tall like the woman. White is contrasted on blue and the sans-serf font spans the width of the text’s foundation.

Symbolism: The square cross stands for safety. Uncle Sam stands for US values and traditions.

Idealisation: The woman is the ideal nurse: beautiful, clean and healthy with rosy cheeks.

Artistic style: Uncle Sam is not a cartoon, but a realistic looking, wise, old man, who deserves respect and commands presence. The nurse’s gaze is determined. The reds and pure whites, with the cape, suggest heroism. In the background looms the debris of an explosion.

Text 5: 'We can do it!' by Westinghouse Electric, 1942

Analysis of Text 5

Call to action: Strong women, working in factories, will win the war (it). So women should seek jobs in factories and get to work.

Typography: Each first letter is capitalised like a title or slogan. The exclamation point is bold.

Symbolism: She is wearing a depiction of herself on her collar. She is her own symbol. The headscarf stands for industriousness. Flexed muscle equals strength.

Idealisation: The woman is wearing make-up and lipstick. She’s both feminine and masculine

Artistic style: The yellows, blues, whites and reds are all bold and iconic. Her gaze is piercing, as she looks at or down on the viewer. Rule of thirds is used effectively.

Text 6: 'I'd join the Navy', 1918

Analysis of Text 6

Call to action: Men should join the Navy, because not everyone has the opportunity.

Typography: A serif font with different sizes, colours and uses of capitals and underlining is intriguing. These words are contrasted with the bold sans-serif font at the foundation of the text which tell the reader to ‘be a man’ and join.

Symbolism: The pin stripes, hat and emblem suggest rank and order, which is contrasted with her playful way of wearing the uniform.

Idealisation: Her curly hair and apple cheeks suggest innocence and charm. She looks flirtatious.

Artistic style: The use of watercolour and the inclusion of the artist’s signature indicate that this is art and not an ad.

Text 7: 'Booby trap', 1943

Analysis of Text 7

Call to action: Men should not have sex

during the war so as to avoid STDs.

Typography: The crooked angle of the letters, suggest the woman is a slippery slope or a ‘trap’. The title ‘booby’ is a play on words.

Symbolism: Beer and cigarettes stand for recreation and socialisation. Her eye shadow, cleavage, lipstick stand for seduction. The uniforms help the target audience identify with the characters.

Idealisation: The soldier on the left has a boyish charm that show is naiveté.

Artistic style: The light on the woman’s chest is contrasted with the dark pub, drawing attention to the pun. The artist’s use of cartoonification makes one laugh at the situation.

Text 8: 'Wake up America' by The Major's Committee, 1916

Analysis of Text 8

Call to action: America, including every man woman and child, should get involved in the Great War.

Typography: White letters with a yellow outline on a black background really stand out. The font screams to the sleeping woman to wake her up.

Symbolism: Red stripes, white stars and blue all indicate Americanism. Dark clouds stand for doom and gloom, lurking in the horizon. The pillow and wicker chair are symbols of relaxation.

Idealisation: America is a beautiful woman or goddess, soft and tender. Her red cheeks exude life.

Artistic style: The woman’s skin is pale and soft. Her silky clothing is almost tangible for the viewer. The light on her chest and face contrast with the dark clouds, suggesting she is hope.

Text 9: 'Victory Waits' by US Civil Service Commission, 1943

Analysis of Text 9

Call to action: Women should take secretarial positions to support the war effort.

Typography: The letters are bold, black and red. The sans-serif font is tall and stretched like the lines of the flag.

Symbolism: Red, white and blue stand for America and France. The typewriter and salute show the young woman’s servitude.

Idealisation: The bow, curly, blond hair and round cheeks are signs of youthful beauty. Her white, starched and pressed blouse are perfect. The typewriter is a well-oiled machine.

Artistic style: The image of the woman is slightly stylised. She looks the reader in the eye to gain contact.

Text 10: 'Wanted for murder' 1944

Analysis of Text 10

Call to action: Men should not talk to women about war about war strategy. Women should be careful about what they say to others.

Typography: The letters are bold, black on white, with a red subheading. The italicised letters below are contrasted with the bold font above.

Symbolism: Her earrings, makeup, hairstyle suggest that she has made an effort to look attractive.

Idealisation: The woman’s face is not the idealised face of a murderer, which is exactly the incongruity that the reader finds striking.

Artistic style: The photograph is a realistic portrait photograph. Many soldiers carried photographs of their girlfriends, like this one.

• How have women contributed to the military since WWI and WWII? How have roles of women in the military evolved over time? Compare the two recruitment posters below. How are they similar or different? Relate these posters to the seven concepts from this course: identity, culture, communication, transformation, representation, creativity and perspective. 

Text 11: 'New Army New independence New you' WRAC, 1970s

Text 12: 'The best place for a woman in the army is everywhere', US Army 2000s

• After having discussed so many posters, take one that you like and write a Paper 1-style analysis on it. Consult the page on propaganda posters in the text types section of this site if you have not already done so. Study the assessment criteria for Paper 1 and read an example, such as this one , in preparation for writing your analysis of the poster that you select. Ask your teacher for feedback on your analysis, after you have written it. Rewrite it if necessary and keep it in your learner portfolio. 

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• Published: 02 September 2024

Propaganda in focus: decoding the media strategy of ISIS

• Yuanbo Qi   ORCID: orcid.org/0000-0001-9541-8220 1  

Humanities and Social Sciences Communications volume  11 , Article number:  1123 ( 2024 ) Cite this article

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• Cultural and media studies
• Politics and international relations

This investigation employs the analytical framework established by Braddock and Horgan to conduct a comprehensive content analysis of 79 official English-language propaganda videos disseminated by ISIS, with the objective of quantifying the thematic composition and the evolutionary trajectory of ISIS’s international media operations and propaganda machinery from 2014 to 2017. The findings reveal that a predominant portion of the videos articulate narratives extensively centred around themes of the adversary and religious discourse, with the Sharia (Islamic law) emerging as the most prevalent theme. This research concludes that at a global scale, the propaganda apparatus of ISIS has orchestrated an intricate narrative, incorporating adversarial, theological, and emotional elements, thereby delineating the advanced sophistication of ISIS’s global propaganda endeavours.

Introduction

Between 2014 and 2017, pivotal years in the trajectory of the Islamic State (ISIS), the group witnessed a meteoric rise and subsequent decline in territorial control (al-Lami, 2019 ; Barnard and Saad, 2017 ; Chulov, 2019 ; Curry, 2014a ; Damon et al. 2017 ; Gilsinan, 2014 ; Phippen, 2017 ). Throughout this period, ISIS strategically utilised media, particularly through its official English-language videos, to propagate its message worldwide. Abu Bakr al-Baghdadi’s proclamation of a caliphate at Mosul’s al-Nuri Mosque marked a significant milestone for ISIS, symbolically hearkening back to a perceived Islamic golden age and galvanising Muslims to join their cause (al-Lami, 2019 ; Chulov, 2019 ). The extreme measures employed by the group, along with the global military response, accentuated the multifaceted nature of contemporary extremist movements (Curry, 2014b ; Gilsinan, 2014 ; Malik, 2014b ).

Understanding ISIS’s media strategy is a vital piece of the puzzle in the broader fight against global terrorism. The English-language videos produced by ISIS from 2014 to 2017 underscore not just the group’s media acumen but also their ideological engagement with a global audience. These videos aimed to intimidate adversaries, recruit sympathisers, and affirm the group’s narrative, showcasing a new dimension of digital terrorism that manipulates psychological, rhetorical, and theological elements to wield influence (Dearden, 2015 ).

This study examines ISIS’s video propaganda to decode its key narratives, rhetoric device, and implications for counter narratives. The increased reliance of ISIS on propaganda as their territorial grasp expanded underscores the imperative to scrutinise and interpret their communicative strategies. By delving into the content of these videos, this research seeks insights into how ISIS’s messaging evolved in response to military setbacks, territorial losses, and shifts in the geopolitical landscape.

This enquiry is of paramount importance for scholarly exploration and practical counter-terrorism measures. Recognising the patterns, themes, and shifts in ISIS’s propagated content enables security analysts and policymakers to anticipate and counteract the tactics of ISIS and similar entities. The insight derived from this study has the potential to inform counter-narratives and deconstruct extremist messaging strategies, thus curtailing the reach and impact of jihadist propaganda on a global scale (Gerges, 2019 ).

The confines of this study are set strictly within the official English-language video propaganda disseminated by ISIS from 2014 to 2017, a period marking the zenith of the group’s influence (al-Lami, 2019 ; Barnard and Saad, 2017 ; Chulov, 2019 ; Curry, 2014a ; Damon et al. 2017 ; Gilsinan, 2014 ; Phippen, 2017 ), thus permitting an analysis of its narrative amidst changing geopolitical realities. By focusing solely on these materials, the research delves into the intricacies of ISIS’s marketing strategies and the ideological underpinnings aimed at a global, primarily English-speaking, audience. The study’s deliberate temporal and linguistic boundaries enable a concentrated examination of the group’s communication tactics during a critical juncture of its existence. The study posits the following specific inquiries:

What intrinsic narrative motifs emerge with the greatest prominence in the videos?

The lens of the videos’ intrinsic narratives, in what manner is the worldview inherent to ISIS ideology articulated and represented?

How does the thematic distribution within these videos reflect an evolution or transformation in the period from 2014 to 2017, and what does this shift signify about ISIS media strategy?

A thorough examination of the corpus of research reveals a trend of tactical and thematic complexity in ISIS’s English-language propaganda (Colas, 2017 ; Winter, 2015 ; Winter, 2018 ). First, many studies do not differentiate their examination of ISIS propaganda between Arabic and English-language content, thereby overlooking the group’s nuanced and targeted messaging aimed at reaching a global audience (Abrahms et al. 2017 ; Fisher, 2015 ; Lakomy, 2021a , 2021b ; Salem et al. 2008 ). Assessments like those by Qi ( 2020a , 2020b ) focus on English-language propaganda, primarily highlighting production aspects or performed speech acts without exploring the thematic richness of the content (Colas, 2017 ). Secondly, there is a lack of studies documenting how these themes have evolved in response to the group’s changing circumstances and the global environment. The thematic evolution within the English text remains unexplored (Al-Rawi, 2018 ; Colas, 2017 ; Fisher, 2015 ; Kuznar, 2017 ; Qi, 2020b ; Winter, 2018 ). By providing a detailed study of the themes and substance found in ISIS’s English-language videos, this research bridges the gaps by analysing how these videos have changed to reflect global dynamics and the group circumstances. This study narrows its focus to provide a necessary perspective on ISIS’s strategic use of English-language materials aimed at global audiences, highlighting the specificity of their media strategy and deliberate use of language in terrorist propaganda.

Literature review

The evolution of isis media strategy and its historical context.

ISIS, also known as the Islamic State, surged to global prominence under the leadership of Abu Bakr al-Baghdadi, who proclaimed a caliphate in 2014, with the ambition of restoring what they considered the golden age of Islam and calling for global Jihad (al-Lami, 2019 ; Chulov, 2019 ). This group quickly gained infamy for its brutal tactics, including the persecution of minorities and conducting high-profile terror attacks, while seizing vast territories in Syria and Iraq (Curry, 2014b ; Gilsinan, 2014 ; Malik, 2014a , 2014b ). By 2017, concerted military efforts significantly diminished ISIS’s territorial control, leading to the loss of their critical strongholds, Mosul and Raqqa (Barnard and Saad, 2017 ; Chulov, 2019 ; Damon et al. 2017 ; Phippen, 2017 ). Despite their territorial defeat and the declaration of the caliphate’s end in 2019, ISIS continues to represent a threat through dispersed networks and sleeper cells globally (Forrest, 2019 ). For instance, nearly a decade after the 2015 terror attacks in Paris, an ISIS affiliate, known as the Islamic State Khorasan Province (ISIS-Khorasan), claimed responsibility for a devastating attack at the Crocus City concert hall in Moscow, which killed 137 people in 2024 (Roth and Sauer, 2024 ; Schmitt, 2024 ). The persistence of the group’s radical ideology suggests that, without addressing the root causes of its emergence, the potential for resurgence remains (Gerges, 2019 ). The transformation of ISIS into a more diffuse entity, which inspires global violence through its propaganda, underscores the enduring challenge of neutralising its impact (al-Lami, 2019 ; Votel et al. 2017 ).

ISIS’s media strategy has a complex history that has developed over time due to strategic adjustments and technology breakthroughs (Gerges, 2016 ). ISIS has recognised the power of the media from the beginning, using it as a recruiting tool and a psychological warfare weapon (Atwan, 2015 ). Their activities at first resembled conventional jihadist communication channels, but they quickly changed into an advanced media machine that made use of social media and excellent video production.

ISIS propagandised mostly in Arabic in the phases, focusing on the local populace as well as the larger Middle East. There was a noticeable change, though, as the group looked to broaden its international appeal and attract members from Western nations. The group’s magazine “Dabiq,” and subsequently “Rumiyah,” as well as a number of videos meant for Western audiences, signalled the appearance of English-language material (Milton, 2020 ). The deliberate change in strategy to add English-language content indicated that the campaign was intended to be multinational.

In addition to being linguistic, the shift from local to international media was both thematic and stylistic. In their analysis of the narrative structures and cinematic devices used in these videos, Venkatesh et al. ( 2020 ) highlight how the “Cinemas of Attraction” and “Pornography of violence” models were created with the intention of shocking as well as attracting viewers. Meanwhile, Sweeney et al. ( 2020 ) emphasised the positive relationship that exists between ISIS’s ability to govern territory and the complexity of the media that it produces, directly connecting the group’s perceived legitimacy and power to the calibre of its output.

ISIS media strategy analyses have changed in tandem with the group’s output. According to Kruglova ( 2020 ), ISIS propaganda utilised narrative advertising by appropriating marketing research, especially on social media platforms. This change is especially significant in light of the group’s deliberate use of stories to elicit strong feelings from the audience; these stories are made much more engaging when they are told in the language of the intended audience. Furthermore, an examination of how the group’s employment of cutting-edge tactics, such as drone images, improved the perceived power and legitimacy of the ISIS brand in these propaganda operations was presented (Archambault and Veilleux-Lepage, 2020 ).

A crucial element in the development of ISIS’s tactics is the interaction between the medium and message content. Toguslu ( 2019 ) examined the ways in which ISIS propaganda—particularly that seen in their magazines—constructs and presents storylines to support their ideology. ISIS’s media activities have seen a substantial metamorphosis with the conversion of these tales into video format and English translation (Fisher, 2015 ). These kinds of materials aim to appeal to Western audiences, frequently imitating Western media styles to give the propaganda a more recognisable sentiment (Qi and He, 2023 ).

The development of ISIS’s media strategy demonstrates a purposeful and strategic shift from local Arabic material to a more inclusive, wider media strategy that aims to interact with English-speaking viewers. This shift highlights how terrorist organisations are adaptable in the digital era and emphasises how crucial it is to thoroughly examine their media outputs to comprehend their influence and reach. Even if they are comprehensive, the earlier studies on ISIS’s media tactics have gaps that need for more research, especially when it comes to the topic of English-language video propaganda and its peculiar characteristics (Cottee and Cunliffe, 2020 ). Comprehending this evolutionary process is essential to crafting counter-narrative tactics and reducing the group’s impact on vulnerable English-speaking communities.

ISIS Propaganda’s thematic and tactical development

The tactical strategies and subject matter of ISIS’s English-language propaganda videos evolved significantly as their media apparatus grew (Winter, 2015 ). After analysing these themes, academics found recurring themes including victimisation, cruelty, utopianism, martyrdom, and apocalypse, all of which were intended to accomplish certain tactical goals (Johnston, 2022 ; Lakomy, 2020 ; Price and Mooney, 2022 ; Winter, 2015 ).

Early examination of the content of ISIS revealed a duality between images of horror and utopia—a dualism meant to arouse and terrify. The contrast of violent activities against the backdrop of an Islamic utopia promised was noticed by Venkatesh et al. ( 2020 ). ‘Cinematic charms’ combined with pictures of a dreamy caliphate lifestyle were intended to justify violence by painting it as a means of achieving a holy purpose.

In their investigation of the “Theatre of Terror,” Sweeney et al. ( 2020 ) and Qi ( 2020b ) contended that the staged violence in ISIS films was a deliberate strategy to represent authority and engender terror rather than being merely for spectacular. According to their study, those videos demonstrated the group’s ability to avenge its adversaries and were an example of a low-cost, high-effect tactic that maximised the symbolic value of violence and self-justification.

This topic was expanded upon by Kruglova ( 2020 ) to include the marketing-like techniques employed in these videos. She emphasised how skilled ISIS is at using social media as a platform to attract and radicalise potential recruits by creating narratives that play on emotions and identity. ISIS was able to connect with a larger audience by using English to tell a compelling tale that spoke to the needs and grievances of those who were remote from the fighting.

Milton ( 2020 ) looked into another facet of ISIS’s propaganda, which involved the deliberate manipulation of pictures. Using a dataset of 1700 ISIS images, he concluded that violent images, especially those of adversaries, greatly boosted attention. In addition to showcasing the group’s military might, the carefully chosen video also showed ISIS government and everyday life, appealing to viewers’ feeling of order and community.

With time, there was a noticeable change in the quality of ISIS propaganda—from widely circulated messages to more specialised information. In their audience perception research, Cottee and Cunliffe ( 2020 ) brought to light ISIS’s acute comprehension of its Western audience. ISIS’s English-language videos were an effective recruiting tool because they were crafted with tales that spoke to certain frustrations or ideological inclinations.

Qi and He ( 2023 ) has conducted an evaluation of English-language videos with an emphasis on their production and semantic attributes. These studies provide insight into how the videos’ production value and thematic distribution strategies have changed over time, despite criticism for their cursory presentation of the subject matter. This kind of study is essential to comprehending how, despite its military decline on the ground, ISIS managed to stay relevant and active in the digital sphere.

By concentrating on the performative element of ISIS narratives, Toguslu ( 2019 ) exposed the group’s deft use of religious texts to justify its crimes. ISIS attempted to provide its supporters with a spiritual purpose and a theological rationale for their atrocities by utilising passages from the Quran and Hadith in their propaganda.

ISIS propaganda’s thematic and tactical growth demonstrates a deliberate progression that aims to shock and persuade. By skilfully utilising English-language videos, the group was able to reach a wider audience and have a more profound effect, appealing to deeper themes of identity, religion, and political grievances than the surface-level appeal of violence. Therefore, analysing these advancements offers crucial insights into the workings of contemporary terrorist propaganda and serves as a foundation for developing potent counterstrategies.

Theoretical framework

In this study, we adopt the theoretical framework of content analysis as outlined by Braddock and Horgan ( 2016 ), which serves as a methodological cornerstone for dissecting the narratives utilised by extremist groups like ISIS. This framework builds upon the understanding that these groups use specific communicative strategies, including narratives imbued with extremist ideologies, values, and beliefs, to achieve strategic objectives and potentially foster radicalisation (Braddock and Horgan, 2016 ; Braddock and Dillard, 2016 ). The persuasive power of extremist media, and its role in radicalisation, has been acknowledged in various studies (Horgan, 2014 ; Jackson, 2007 ), highlighting the urgency of crafting counter-narratives based on a profound understanding of terrorist narratives.

Braddock and Horgan ( 2016 ) advocate for content analysis as a pivotal tool for this endeavour, enabling researchers to identify themes central to an extremist group’s ideology through a detailed examination of their media productions. Their proposed method includes both quantitative assessments of overt message characteristics and a more nuanced thematic analysis aimed at uncovering underlying values, views, and ideologies (Krippendorff, 2012 ). This approach facilitates the recognition of patterns within texts, serving as a crucial step in understanding extremist narratives.

Following the analytic procedures suggested by Braddock and Horgan ( 2016 , pp. 387–388), our study undertakes a systematic exploration of ISIS and other jihadi groups’ narratives. This involves multiple readings of the narratives to grasp their theme, style, and meaning; generating and consolidating codes that reflect the terrorist group’s ideology; sorting codes into overarching themes to identify higher-order concepts; and quantifying these thematic elements to ascertain the most prevalent themes. Such a structured analysis allows for a comprehensive understanding of the narratives, supported by a pilot-coding to ensure objectivity (Boyatzis and E, 1995 ; Patton, 2002 ).

Sampling rationale

Since there has been a substantial quantity of ISIS media production (Atwan, 2015 ; Colas, 2016a ; Cottee, 2015 ; Stern and Berger, 2016 ; Winkler et al. 2016 ; Winter, 2015 ; Zelin, 2015 ), there must be a feasible solution for sampling the data into a manageable corpus (Colas, 2016a ). Through the existing literature, it is observable that, first, studies have largely focused on the written texts, even though empirical studies on ISIS media output have clearly shown that ISIS relies more on visual propaganda than on written propaganda (Zelin, 2015 ). Second, the corpus might need to vary chronologically in terms of release dates to comprehend the evolution and changing dynamics of ISIS media in response to real-world events (Kuznar, 2017 ). Third, English is the second most commonly used language next to Arabic in ISIS propaganda and is the most commonly used foreign language (Fisher, 2015 ). Finally, in its intentional use of such a worldwide, accessible language, the official English-language video, from the organisation’s perspective, represents ISIS’s global ambitions and central strategies. This, in turn, sheds light upon ISIS’s worldview, how ISIS sees itself, and how ISIS wishes to be seen (Colas, 2016a ; Fisher, 2015 ). Ultimately, this fourfold rationale that leads to the sampling criteria sharpens data into a manageable size while remaining quantifiable and comparable with others’ studies of ISIS media production, leading to a more comprehensive, if counter-intuitive, study.

Sampling criteria

The 79 official English-language videos from ISIS were selected based on the following criteria: (1) timing: the video productions must have been released from April 2014 to July 2017, a timeframe that fully captures the Fall and the Liberation of Mosul (10 June 2014–10 July 2017), which symbolises the geographic controllability and territorial power of ISIS (Burke, 2017 ; Forrest, 2019 ; Gamal-Gabriel and Dunlop, 2017 ); (2) language: the video must either be narrated in English or have subtitles in English; (3) sources [for selecting those that represent official ISIS material]: the video productions must be from official ISIS media centres or from provincial-level centres accredited by official media centres. The criteria were implemented to collect English-narrated/subtitled videos released within the established time period that were produced/recognised by the official media centres at al-Hayat , al-Furqan , and al-I’tisam (Barr and Herfroy-Mischler, 2017 ; Zelin, 2015 ). To ensure that the English-language used in the videos released from provincial media centres was officially authorised by ISIS, as opposed to being a private translating effort from pro-ISIS supporters, the videos must have been promoted by the video series Selected 10 and Featured 3 , both of which represent or highlight periodic exaltations of exemplary provincial videos productions by al-Hayat media centre.

The criteria of timing in this study might be worth particular attention to further clarify. The designation of 2014 to 2017 as the peak period of ISIS activities is substantiated by a detailed examination of their territorial control and pivotal events, with a significant focus on the strategic city of Mosul. This era marks ISIS’s swift territorial expansion, reaching its apogee in 2014, characterised by the capture of Mosul, a major urban centre that symbolised their operational and administrative capabilities (Chulov, 2019 ; Curry, 2014b ; Gilsinan, 2014 ). The occupation of Mosul not only demonstrated ISIS’s military prowess but also established a geographical and ideological centre for the caliphate (al-Lami, 2019 ; Boffey and Jalabi, 2014 ; Dearden, 2014 ).

The subsequent decline of ISIS, leading to the liberation of Mosul in July 2017, underscores the importance of this timeframe. The battle for Mosul, which began in October 2016, represented a turning point in the international effort to dismantle ISIS’s territorial hold, highlighting a concerted counter-terrorism strategy that significantly diminished their control and influence (Barnard and Saad, 2017 ; Chulov, 2019 ; Damon et al. 2017 ; Phippen, 2017 )). The liberation of Mosul is widely regarded as a critical indicator of ISIS’s waning power, marking the end of their most significant territorial possession (Burke, 2017 ; Forrest, 2019 ).

Given these considerations, the period between 2014 and 2017 is selected as the focal point of this study, reflecting the zenith and subsequent reduction of ISIS’s territorial and operational command. This timeframe is crucial for understanding the dynamics of ISIS’s rise and fall, providing a comprehensive overview of their impact and the global response to their activities (Burke, 2017 ; Forrest, 2019 ).

Data collection

It is worth noting the distinction between the period of data collection (October 2015 to August 2017) and the video release date criteria (April 2014 to July 2017) for the sake of clarity. This study collected data between 1 October 2015, and 1 August 2017, leveraging Jihadology.net , a renowned repository for jihadi primary materials. During this period, MP4 files of ISIS videos were gathered from digital archives curated by scholars. The collection prioritised anonymity in sourcing to safeguard security while ensuring the authenticity and reliability of the data through cross-verification. Among a broad dataset of 1025 videos, 79 official English-language ISIS videos were chosen based on stringent criteria. Empirical evidence supports data collection via digital media, establishing them as promising research channels for the social sciences (Okereka et al. 2024 ).

Analytical procedure

Extremist organisations use varied communication strategies, including crafting narratives to embed ideologies and values (Braddock and Horgan, 2016 ). The effectiveness of these media in radicalisation is debated. Certain studies suggest narrative exposure can be persuasive, while others see no consistent link (Hong and Park, 2012 ; Peracchio and Meyers-Levy, 1997 ). However, it’s recognised that extremist narratives might potentially lead to radicalisation (Horgan, 2014 ).

Braddock and Horgan focus on developing counter-narratives to extremist ideologies. Understanding terrorist narratives is crucial for crafting effective counter-narratives and strategic communication to prevent radicalisation. These narratives, complex in ideological and emotional content, fulfil several roles: identity, justification for violence, and presenting a skewed reality that influences behaviour. Dissecting them is key to understanding their resonance and potential to foster extremist ideologies.

Development of the coding instrument

The initial phase of the analytical process was the development and enhancement of the coding scheme, which serves as the backbone for thematic analysis. This began with the construction of a provisional list of codes, which are essentially interpretative tags assigned to segments of the meaningful organisations within the videos. These segments to which the codes are applied could vary in length, thereby providing the flexibility to code discrete elements or broader sections of the narrative as necessary.

The analyst used their expertise and preliminary observations to form an initial list of themes present in the videos. This list was dynamically refined to align with established thematic frameworks in extremist propaganda research, ensuring a scholarly foundation for the coding instrument.

Relevant literature, including works by Winter ( 2015 ), Pelletier et al. ( 2016 ), and Gråtrud ( 2016 ), contributed established thematic codes to the analysis. This comparative approach refined the coding list, eliminating redundancy and ensuring a robust, comprehensive coding structure.

The analysis then shifted to a quantitative phase, systematically applying the refined codes to the video narratives. This quantification measured the frequency and prominence of themes, providing empirical insights into ISIS’s strategic messaging priorities during the study period. This approach moved the analysis beyond subjective interpretation towards a data-driven understanding of the thematic content in the ISIS videos.

Application of codes and content analysis

The analytical stage for examining ISIS videos involved a detailed and systematic coding process. The analyst analysed 79 videos, totalling 915 min, by breaking them down into one-minute increments, resulting in 915 distinct units for granular analysis.

Each minute unit was scrutinised using a set of thematic codes, identifying, and recording occurrences of specific themes, termed ‘segments.’ This led to the cataloguing of 799 segments of varying lengths. The prevalence of themes was assessed by calculating the cumulative duration of these segments, quantifying both the frequency and the temporal span of themes in the dataset. The total duration of all segments was 1707 units. Themes with a significance level of 0.06 or higher, roughly equivalent to 100 units or more, were considered substantially prevalent.

Additionally, the analysis explored the ‘asymmetric nature’ of ISIS media operations. This involved using the SKEW function, a statistical measure of distribution asymmetry, to understand the uneven thematic distribution over time, highlighting the dynamic nature of ISIS’s propaganda focus.

The outcome was a comprehensive thematic overview, showing both the frequency and variability of themes in ISIS’s video propaganda. The results were then visually represented in tables and graphs for clearer interpretation and discussion. At the conclusion of this rigorous process, the analyst had at their disposal a comprehensive list of themes, along with detailed insights into the frequency and changing patterns of these themes within ISIS’s video propaganda. The findings from this stage of analysis were then translated into tables and graphs, which facilitated a clear visual representation of the data, allowing for more accessible interpretation and discussion of the results.

Inter-coder reliability

The methodology for analysing ISIS video narratives involved enhancing reliability through an independent expert coder’s review, aligning with Schreier’s ( 2012 ) conflict resolution guidelines. The initial thematic categorisation has been scrutinised to ensure balanced and accurate coding. Braddock and Dillard’s ( 2016 ) methodical evaluation approach guided the determination of theme presence, with coder reviews forming the basis of final decisions.

To verify coding consistency, a pilot test aimed for at least 0.80 inter-coder reliability, following Cohen’s ( 1960 ) benchmark for high reliability. This standard reduces subjective bias, ensuring systematic and replicable coding. After pilot testing and discussions, two significant coding instrument revisions were made, leading to a final list of 26 thematic codes. This process established the credibility and rigour of the analysis.

The research includes three appendices in its online archive for transparency and replication. Appendix 1 details the data collection sources, Appendix 2 presents the final 26 thematic codes, and Appendix 3 contains example tables showing segment cataloguing and duration calculations. These appendices underpin the methodology and analysis, offering detailed insights into the study’s mechanics and coding process.

Thematic dissection of ISIS propaganda: enemy, religious, and emotive narratives

Figure 1 in the study categorises primary narratives in ISIS’s English-language videos into three groups: enemy, religious, and emotive, based on 26 thematic elements.

This figure presents the statistical compositions of the narratives identified in ISIS English-language videos, detailing the specific prevalence of each associated theme.

Figure 2 shows the ‘enemy’ narrative, comprising 40.83% of the content, focuses mainly on portraying ISIS at war (9.02%), captives confessing ‘sins’ (7.26%), and depicting the West as aggressive and oppressive (6.09%). It also highlights Western failures (4.22%) and alliances against ISIS (2.69%), with lesser emphasis on terror attacks (1.52%) and domestic vice and punishment (1.17%).

This figure illustrates the statistical thematic distribution of the enemy narrative within ISIS English-language videos, showing the relative frequency of each theme.

Figure 3 indicates the ‘religious’ narrative forms a substantial portion, led by themes of Sharia law enforcement (9.31%). Other key themes include incitement for jihad (6.39%), Islamic references (6.27%), and calls for emigration (4.16%). Lesser themes include allegiance to the leader (1.29%) and apocalypse (1.05%).

This figure shows the statistical thematic distribution of the religious narrative in ISIS English-language videos, highlighting the prevalence of each associated theme.

Figure 4 signifies the ‘emotive’ narrative, at 21.15%, highlights ‘happiness’ living within ISIS territory (5.74%) and victories at battlefield (4.98%). It also covers martyrdom and Muslim suffering (3.81%; 2.46%; 2.05%), with infrequent mentions of restoring honour of Islam (1.23%) or feelings of humiliation (0.88%).

This figure depicts the statistical thematic distribution of the emotive narrative in ISIS English-language videos, indicating the frequency of different themes.

Prevalent themes in ISIS propaganda: a detailed thematic breakdown

In the detailed analysis of ISIS English-language videos, ‘sharia and governance’ was the most prevalent theme, accounting for 9.31% of the content. This was followed by ‘combat’ (9.02%), ‘captives and confession’ (7.26%), ‘jihad’ (6.39%), ‘support from Quran and Sunnah’ (6.27%), and ‘Western malevolence’ (6.09%). Other notable themes included ‘happiness and wellbeing’ (5.74%), ‘strength and victory’ (4.98%), and ‘execution’ (4.45%).

Figure 5 in the study ranks these 26 themes based on their segment duration in the video corpus. Themes with a significance level of 0.06 or higher, such as ‘sharia and governance’, ‘combat’, and ‘captives and confession’, are highlighted, indicating their central role in ISIS propaganda.

This figure ranks the prevalence of 26 individual themes according to the total duration of segments in 79 ISIS English-language videos, presenting the relative importance of each theme.

Temporal shifts in ISIS narrative focus: analysing the stability of thematic content

The temporal analysis of ISIS English-language videos from 2014 to 2017 reveals fluctuating narrative themes, with six—‘vice and punishment’, ‘terror attack’, ‘apocalypse and prophecy’, ‘support from scholars’, ‘combat’, and ‘obedience to God’—showing significant variability. For example, ‘Terror attack’ was minimal until mid-2015, then became frequent, peaking in January 2016 and coinciding with portrayals of the November 2015 Paris attacks in ISIS videos.

However, as represented by Fig. 6 , themes like ‘jihad’, ‘West colluding with enemies’, ‘happiness and wellbeing’, ‘captives and confession’, ‘support from Quran and Sunnah’, and ‘sharia and governance’ remained stable and recurrent, reflecting ISIS’s core ideological appeals.

This figure displays the skewness in the distribution of the 26 themes in ISIS English-language videos. From left to right, the figure ranks the themes based on their instability, from the highest to the lowest.

Binary worldviews and theological legitimacy in ISIS propaganda

The prevalence of enemy narratives in ISIS propaganda creates a stark ‘us versus them’ dichotomy. Gerges ( 2009 , 2016 ) and Mahood and Rane ( 2016 ) discuss how ISIS portrays itself as the ‘good’—upholders of Sharia and the true path of jihad—while anyone opposing them is depicted as the ‘evil’ doomed to fail due to their disbelief. The narrative is given legitimacy by anchoring it in the historical and contemporary experiences of Muslims. Such binary opposition is a classic psychological warfare technique, fostering a collective identity among ISIS followers and justifying the group’s violent actions (Cantey, 2017 ; Gråtrud, 2016 ).

ISIS ideologues use theological language to assert that the group is on a divine mission, with violent jihad being the sole path to rectify the world (Mahood and Rane, 2016 ). They claim to be guided by a ‘prophetic methodology,’ deriving their understanding from the Quran and Sunnah, and present their jihadists as ‘lions of the caliphate’ and ‘warriors in upholding the rules of God’ (Gerges, 2016 ; Mahood and Rane, 2016 ). This religious narrative is fundamental in legitimising ISIS’s actions and in recruiting followers by weaving theological justifications into its narrative framework.

The strategic use of emotive content in ISIS propaganda is discussed as being less prevalent compared to the enemy and religious narratives. This strategic choice could indicate a focus on ideological and combative aspects, particularly in content aimed at Western audiences (Colas, 2016b ; Spier, 2018 ). However, when emotive content is utilised, it is designed to resonate with feelings of injustice and discrimination, appealing to a sense of identity and grievance (Mahood and Rane, 2016 ; Olidort and McCants, 2015 ).

The discussion further situates ISIS’s propaganda strategy within the broader debate on the role of Islam in its ideology, referencing Graeme Wood’s influential essay (Wood, 2015 ) that contends ISIS is intrinsically Islamic, sparking a debate on the relationship between Islamism and terrorism (Cottee, 2017a ). This debate pits those who view ISIS as representing true Islam (Ali et al. 2020 ) against those who vehemently disagree (Coles, 2015 ; Hasan and Mehdi, 2015 ; Tharoor, 2016 ). This ongoing argument examines whether the violence enacted in the name of religion is inherently religious or if it is politically motivated and sometimes can be secular in character.

Wood’s essay challenges the notion that ISIS’s violence is purely psychopathic, suggesting instead that it is rooted in early medieval Islamic ideology (Remnick, 2014 ). Meanwhile, critics like Coles ( 2015 ) argue that ISIS’s interpretation of Islam is a deviation, and others like Coolsaet ( 2016 ) and Roy ( 2016 ) attribute the violence to political rather than religious motivations.

The empirical evidence from this study, which shows a significant emphasis on religious narrative in ISIS’s English-language videos, adds a critical dimension to this debate. The frequent recurrence of themes such as sharia law and violent jihad in official media suggests that ISIS’s theological underpinnings are significant and that the group’s ideological foundations are vital to understanding its allure and the motivations of its adherents (Makdisi and John, 1985 ; Mutahhari, 2014 ).

The integration of empirical findings with the broader discourse on ISIS’s propaganda strategies provides a more comprehensive understanding of how the group uses enemy and religious narratives to construct a worldview that legitimises its actions, while also participating in a broader debate about the role of religion in political violence. This complex narrative strategy serves multiple functions within the group’s ideological battle, solidifying its identity, justifying its violent actions, and recruiting followers.

Strategic emphasis and media diversity in ISIS’s propaganda narrative

The findings in ISIS’s English-language videos, as identified in the study, affirm the thematic elements highlighted in other research on ISIS’s propaganda (Gråtrud and Henrik, 2016 ; Kuznar, 2017 ). Emotive language, moderately employed in ISIS’s videos, is a common thread throughout jihadist propaganda, which is also prevalent among groups like the Taliban, Al-Qaeda, and its affiliates AQIM and AQAP. However, ISIS’s unique emphasis on certain themes distinguishes its propaganda from others (Abrahms et al. 2017 ; Gendron and Angela, 2016 ; Salem et al. 2008 ).

The study supports Kuznar’s observation that the thematic elements of ISIS propaganda are present in other jihadi propaganda but emphasises that ISIS has a distinctive approach to these themes. While the general message across ISIS’s various media formats—magazines, leaders’ speeches, public statements, and Nasheeds —remains coherent, the intensity with which certain themes are highlighted varies. ISIS’s English-language videos, in particular, consistently emphasise religious and enemy narratives in line with ‘Dabiq,’ the group’s official English-language magazine, while emotive narratives are less pronounced (Colas, 2016a ).

In contrast, the leaders’ speeches seem to focus more on emotion-provoking themes, suggesting a strategic use of emotional appeal to strengthen the group’s core narratives, with religious and enemy narratives taking a secondary role (Spier, 2018 ). Gråtrud’s analysis suggests that the effectiveness of ISIS’s media, such as Nasheeds , could be attributed to its emphasis on a select number of broadly appealing themes. This targeted approach likely extends beyond Nasheeds to other media productions, indicating a nuanced strategy to engage with various target audiences effectively.

When we consider these findings alongside the comparative analysis of other extremist groups, it becomes evident that ISIS has carved out a unique space in jihadist media strategy. While the shared use of recruitment, indoctrination, enemy construction, religious justification, and calls to action are common jihadist media narratives, ISIS’s distinct approach lies in its media production quality, modern communication tool utilisation, apocalyptic messaging, and tailored language use.

The thematic emphasis and diversity in ISIS’s media productions, juxtaposed with the broader landscape of jihadist propaganda, underscore the group’s sophisticated media strategy. ISIS’s ability to maintain thematic consistency across different media forms while varying the intensity of certain themes reveals an intention to optimise the impact of its messaging. This adaptability and tailored emphasis not only differentiate ISIS’s propaganda from other groups but also potentially enhance its effectiveness in recruitment and ideological dissemination.

By understanding these nuances, counter-terrorism efforts can be better tailored to address the specific strategies employed by ISIS and other extremist groups, acknowledging the shared tactics while targeting the unique aspects of each group’s propaganda approach.

Adaptive themes and consistent ideology in ISIS propaganda

The research of Pelletier et al. ( 2016 ) aligns with the findings from this study, suggesting that jihadist groups like AQAP and ISIS exhibit major thematic shifts in response to real-world events while maintaining a consistent overarching thematic structure. In the case of ISIS, the primary and most fundamental themes—those at the core of ISIS’s ideology—tend to remain stable over time. Conversely, the less recurrent themes display more dynamism, often aligning with specific geopolitical or operational developments that ISIS encounters.

For example, the theme of ‘Terror Attack’ in ISIS videos became more prominent following high-profile attacks that ISIS claimed responsibility for, such as the Paris attacks in November 2015. Foster ( 2014 ) notes the depiction of the perpetrators as heroes in ISIS’s narrative, which marked a peak in the terror attack theme’s prominence. The ‘Apocalypse and Prophecy’ theme’s activity aligns with the group’s control over the town of Dabiq, believed to be a prophesied battlefield, and its eventual loss of the town in 2016 (Withnall, 2016 ). These shifts illustrate how ISIS’s media strategy is interwoven with its operational successes and setbacks, using thematic content to reflect and amplify its real-world narrative.

Despite the responsiveness to events, the more recurrent themes, particularly those propagating violent jihad and Islamic law—pillars of the ISIS ideology—remained consistent. These themes are critical for maintaining a steady ideological message for recruitment, indoctrination, and asserting the group’s identity.

However, the theme of ‘Combat’ presents an interesting case. Although it is one of the most recurrent themes, it exhibited significant instability. The two major peaks in this theme’s prominence not only reflect specific events but also disproportionately affect the theme’s overall statistical stability. This instability may serve a strategic purpose, as Zelin ( 2015 ) indicates, potentially highlighting the asymmetric nature of ISIS media operations. The aim could be to project an image of ongoing struggle and resilience despite real-world setbacks, thereby maintaining morale and commitment among its followers.

The skewness in the distribution of themes across ISIS’s videos supports the notion of an asymmetric media strategy. This asymmetry is not arbitrary but appears to be a calculated response to real-world events. Themes that exhibit significant shifts correspond to specific incidents, underscoring ISIS’s intent to manipulate media narratives in line with operational objectives and challenges.

Counter-terrorism strategies implications

Counter-narrative campaigns are crucial in combating the binary enemy narratives that ISIS propagates. ISIS frames the world in terms of black and white, good and evil, believers and non-believers. To counter this, it’s important to develop narratives that showcase the complexity and diversity of Muslim identities and the peaceful, pluralistic nature of Islamic teachings. Educational initiatives can play a pivotal role in this area, as they can foster a more nuanced understanding of Islam that goes beyond the simplistic and extremist interpretations offered by ISIS (Gerges, 2016 ; Mahood and Rane, 2016 ).

By highlighting the rich tapestry of Islamic scholarship and the diversity of interpretations that have coexisted within Islamic history, these campaigns can undermine the theological foundations upon which ISIS builds its legitimacy. It is also essential to promote voices within the Muslim community that speak to the religion’s core messages of peace and compassion, drawing on both historical and contemporary sources of Islamic thought (Makdisi and John 1985 ).

ISIS has demonstrated an ability to adapt its messages in response to changing circumstances, be they losses on the battlefield or shifts in geopolitical alliances. A successful counter-terrorism approach must be equally flexible, employing real-time intelligence to detect and respond to changes in ISIS’s narrative strategies (Pelletier et al. 2016 ). Developing predictive models based on this intelligence can help anticipate the group’s future shifts in narrative and allow counter-terrorism efforts to stay one step ahead.

At its core, radicalisation often stems from socio-political factors such as alienation, discrimination, and injustice—elements that ISIS exploits to recruit and radicalise individuals. Counter-terrorism efforts must, therefore, also focus on the root causes of radicalisation. This involves creating inclusive policies that address unemployment, provide educational opportunities, and promote social cohesion within marginalised communities (Coolsaet, 2016 ; Roy, 2016 ). Programs that target these areas can reduce the susceptibility of individuals to extremist ideologies by improving their socioeconomic conditions and fostering a sense of belonging within their societies.

In summary, ISIS has created a complex global propaganda apparatus comprising comprehensive narrative themes that span adversarial, theological, and emotional artefacts. The primary conclusion is fourfold: first, within the scope of ISIS propaganda, the extent to which ISIS emphasises certain themes is distinctive from that of other media releases; second, the two most important narratives for ISIS propagandists are the enemy and religious narratives, which reflect a binary worldview of ISIS ideology. ISIS represents the ‘good’ whereas those who oppose ISIS are its enemies and the ‘evil’; third, the ratio of the religious narrative in ISIS English-language videos elucidates one of the hottest debates regarding ISIS’s Islamic nature by supporting and reinforcing the arguments that the religious artefacts of ISIS are important and cannot be neglected if the narrative and underlying ideologies are to be understood (Pelletier et al. 2016 ; Wood, 2015 ); finally, the most fundamental themes promoted by ISIS remain consistent over time whereas the least recurrent themes are more dynamic and might shift significantly in response to a series of real-world events that ISIS faces on the ground.

However, this study is merely the first step. There have been some limitations and many other research trajectories of which future studies might be aware. Most apparently, due to the resource restraints and unstable circumstances in the region, it has been difficult to claim the complete collection of ISIS-produced videos has been archived in this field. Second, this study does not account for the audience perception of ISIS videos – it demands a separate study, although some research in this domain is already underway, and such work is beneficial for our understanding of ISIS propaganda (Cottee, 2017b ). Third, the effectiveness of ISIS narratives might not only depend on what the narrative contains but also on the style in which the content is vividly presented (O’Keefe, 1997 ). Further studies could provide another perspective by, for instance, examining cinematography or semiotics. Finally, the use of content analysis might restrain our understanding of the sophistication of ISIS rhetoric and reasoning devices; further research could offer an interpretation of ISIS English videos beyond locution and thematic analysis of extremists’ messages. For example, ISIS’s use of language as a means to achieve objectives through words and deeds.

Nevertheless, contributing significantly to the discourse on jihadist media strategy, this study undertakes a detailed examination of narrative motifs found in the official English-language videos of ISIS. It renders an original, comprehensive content analysis of ISIS’s propaganda, and facilitates a highly inclusive range of thematic elements that are also applicable to other extremists’ visual texts. Dissecting these videos’ narrative constructs enables a deeper counterpoint to the narratives that have found traction in jihadist online propaganda. By doing so, insights into the group’s strategic narrative constructions and worldviews are gleaned. These insights are crucial for demystifying ISIS: discerning its self-image, presentation style, and desired perception among international audiences. Moreover, this research augments existing studies on ISIS’s global media reach by providing an exhaustive analysis of its official English-language videos and adopts a dynamic perspective on the group’s media offerings, tracking how ISIS tailored its propagandist responses to various global events during the important period. The methodological rigour applied herein lays the groundwork for future explorations into the propaganda of other terrorist organisations. Exposure to jihadist propaganda might not be a sole radicalising force; rather, it is the confluence of ideological currents within broader social, political, and cultural frameworks that is critical (Winter, 2015). ISIS’s media arsenal, encompassing literature, videos, social platforms, and discussion forums, is curated to mirror these undercurrents. The analytical method developed through this study’s examination of ISIS’s videos paves the way for scrutinising a broader array of extremist communications.

Data availability

The dataset generated during and/or analysed during the current study is submitted as a supplementary file and can also be obtained from the corresponding author upon reasonable request.

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Qi, Y. Propaganda in focus: decoding the media strategy of ISIS. Humanit Soc Sci Commun 11 , 1123 (2024). https://doi.org/10.1057/s41599-024-03608-y

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Argument, Persuasion, or Propaganda? Analyzing World War II Posters

• Resources & Preparation
• Instructional Plan
• Related Resources

In this lesson plan, students analyze World War II posters, chosen from online collections, to explore how argument, persuasion and propaganda differ. The lesson begins with a full-class exploration of the famous "I WANT YOU FOR U.S. ARMY" poster, wherein students explore the similarities and differences between argument, persuasion, and propaganda and apply one of the genres to the poster. Students then work independently to complete an online analysis of another poster and submit either an analysis worksheet or use their worksheet responses to write a more formal essay.

Featured Resources

• Argument, Persuasion, or Propaganda? : This handout clarifies the goals, techniques, and methods used in the genres of argument, persuasion, and propaganda.
• Analyzing a World War II Poster : This interactive assists students in careful analysis of a World War II poster of their own selection for its use of argument, persuasion, or propaganda.

From Theory to Practice

Visual texts are the focus of this lesson, which combines more traditional document analysis questions with an exploration of World War II posters. The 1975 "Resolution on Promoting Media Literacy" states that explorations of such multimodal messages "enable students to deal constructively with complex new modes of delivering information, new multisensory tactics for persuasion, and new technology-based art forms." The 2003 "Resolution on Composing with Nonprint Media" reminds us that "Today our students are living in a world that is increasingly non-printcentric. New media such as the Internet, MP3 files, and video are transforming the communication experiences of young people outside of school. Young people are composing in nonprint media that can include any combination of visual art, motion (video and film), graphics, text, and sound-all of which are frequently written and read in nonlinear fashion." To support the literacy skills that students must sharpen to navigate these many media, activities such as the poster analysis in this lesson plan provide bridging opportunities between traditional understandings of genre and visual representations. Further Reading

Common Core Standards

This resource has been aligned to the Common Core State Standards for states in which they have been adopted. If a state does not appear in the drop-down, CCSS alignments are forthcoming.

State Standards

This lesson has been aligned to standards in the following states. If a state does not appear in the drop-down, standard alignments are not currently available for that state.

NCTE/IRA National Standards for the English Language Arts

• 1. Students read a wide range of print and nonprint texts to build an understanding of texts, of themselves, and of the cultures of the United States and the world; to acquire new information; to respond to the needs and demands of society and the workplace; and for personal fulfillment. Among these texts are fiction and nonfiction, classic and contemporary works.
• 3. Students apply a wide range of strategies to comprehend, interpret, evaluate, and appreciate texts. They draw on their prior experience, their interactions with other readers and writers, their knowledge of word meaning and of other texts, their word identification strategies, and their understanding of textual features (e.g., sound-letter correspondence, sentence structure, context, graphics).
• 4. Students adjust their use of spoken, written, and visual language (e.g., conventions, style, vocabulary) to communicate effectively with a variety of audiences and for different purposes.
• 5. Students employ a wide range of strategies as they write and use different writing process elements appropriately to communicate with different audiences for a variety of purposes.
• 11. Students participate as knowledgeable, reflective, creative, and critical members of a variety of literacy communities.
• 12. Students use spoken, written, and visual language to accomplish their own purposes (e.g., for learning, enjoyment, persuasion, and the exchange of information).
• Argument, Persuasion, or Propaganda?
• Document Analysis for Argument, Persuasion, or Propaganda
• Poster Analysis Rubric

Preparation

• Make appropriate copies of Argument, Persuasion, or Propaganda? , Document Analysis for Argument, Persuasion, or Propaganda , and Poster Analysis Rubric .
• Explore the background information on the Uncle Sam recruiting poster , so that you are prepared to share relevant historical details about the poster with students.
• If desired, explore the online poster collections and choose a specific poster or posters for students to analyze. If you choose to limit the options, post the choices on the board or on white paper for students to refer to in Session Two .
• Decide what final product students will submit for this lesson. Students can submit their analysis printout from the Analyzing a World War II Poster interactive, or they can write essays that explain their analysis. If students write essays, the printouts from the interactive serve as prewriting and preparation for the longer, more formal piece.
• Test the Analyzing a Visual Message interactive and the Analyzing a World War II Poster interactive on your computers to familiarize yourself with the tools and ensure that you have the Flash plug-in installed. You can download the plug-in from the technical support page.

Student Objectives

Students will

• discuss the differences between argument, persuasion, and propaganda.
• analyze visual texts individually, in small groups, and as a whole class.
• (optionally) write an analytical essay.

Session One

• Display the Uncle Sam recruiting poster using an overhead projector.
• Ask students to share what they know about the poster, noting their responses on the board or on chart paper.
• If students have not volunteered the information, provide some basic background information .
• Working in small groups, have students use the  Analyzing a Visual Message interactive to analyze the Uncle Sam poster.
• Emphasize that students should use complete, clear sentences in their responses. The printout that the interactive creates will not include the questions, so students responses must provide the context. Be sure to connect the requirement for complete sentences to the reason for the requirement (so that students will understand the information on the printout without having to return to the  Analyzing a Visual Message interactive.
• As students work, encourage them to look for concrete details in the poster that support their statements.
• Circulate among students as they work, providing support and feedback.
• Once students have completed the questions included in the  Analyzing a Visual Message interactive, display the poster again and ask students to share their observations and analyses.
• Emphasize and support responses that will tie to the next session, where students will complete an independent analysis.
• Pass out and go over copies of the Argument, Persuasion, or Propaganda Chart .
• Ask students to apply genre descriptions to the Uncle Sam poster, using the basic details they gathered in their analysis to identify the poster's genre.

Session Two

• Review the Argument, Persuasion, or Propaganda? chart.
• Elicit examples of argument, persuasion, and propaganda from the students, asking them to provide supporting details that confirm the genres of the examples. Provide time for students to explore some of the Websites in the Resources section to explore the three concepts.
• When you feel that the students are comfortable with the similarities and differences of the three genres, explain to the class that they are going to be choosing and analyzing World War II posters for a more detailed analysis.
• Pass out the Document Analysis for Argument, Persuasion, or Propaganda , and go over the questions in the analysis sheet. Draw connections between the questions and what the related answers will reveal about a document's genre.
• Demonstrate the Analyzing a World War II Poster interactive.
• Point out the connections between the questions in the interactive and the questions listed on the Document Analysis for Argument, Persuasion, or Propaganda .
• If students need additional practice with analysis, choose a poster and use the Analyzing a World War II Poster interactive to work through all the analysis questions as a whole class.
• Explain the final format that students will use for their analysis—you can have students submit their analysis printout from the Analyzing a World War II Poster interactive, or they can submit polished essays that explain their analysis.
• Pass out copies of the Poster Analysis Rubric , and explain the expectations for the project.
• Posters on the American Home Front (1941-45), from the Smithsonian Institute
• Powers of Persuasion, from the National Archives
• World War II Poster Collection, from Northwestern University
• World War II Posters, from University of North Texas Libraries

Session Three

• Review the poster analysis project and the handouts from previous session.
• Answer any questions about the Analyzing a World War II Poster interactive then give students the entire class session to work through their analysis.
• Remind students to refer to the Poster Analysis Rubric to check their work before saving or printing their work.
• If you are having students submit their printouts for the final project, collect their work at the end of the session. Otherwise, if you have asked students to write the essay, ask them to use their printout to write the essay for homework. Collect the essays and printouts at the beginning of the next session (or when desired).
• If desired, students might share the posters they have chosen and their conclusions with the whole class or in small groups.

The Propaganda Techniques in Literature and Online Political Ads lesson plan offers additional information about propaganda as well as some good Websites on propaganda.

Student Assessment / Reflections

Use the Poster Analysis Rubric to evaluate and give feedback on students’ work. If students have written a more formal paper, you might provide additional guidelines for standard written essays, as typically used in your class.

• Calendar Activities
• Professional Library
• Strategy Guides
• Lesson Plans

This resolution discusses that understanding the new media and using them constructively and creatively actually requires developing a new form of literacy and new critical abilities "in reading, listening, viewing, and thinking."

This strategy guide clarifies the difference between persuasion and argumentation, stressing the connection between close reading of text to gather evidence and formation of a strong argumentative claim about text.

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During the Second World War, on the home front, the BBC became the crucial mechanism for keeping up morale and distributing official information and propaganda. Similarly, in its international work, the BBC cemented links with Britain’s allies, sought to encourage the US to enter the war against fascism, encouraged a spirit of resistance in occupied nations, and conducted increasingly aggressive psychological warfare against the enemy. This was when the BBC truly became a global broadcaster: its international work was, arguably, a higher priority than broadcasting for listeners in the UK. It forged particularly strong links with US broadcasters, strengthening the transatlantic flow of programmes and ideas. It also conducted propaganda targeting audiences across the British empire, and launched a massively expanded set of foreign-language services aimed at Europe. To maintain morale, and to keep listeners away from enemy stations, the BBC channelled resources into entertainment, especially in the new Forces Programme. It produced truly popular broadcasts: this had a lasting legacy in terms of its approach to making programmes. It also, hesitantly, began to enter the business of journalism, particularly by providing eyewitness accounts of D-Day and the liberation of Europe.

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