Diploma thesis "Film Department of the Ministry of Information 1945 - 1953" deals with the cultural policy in Czechoslovakia after the Second World War. The introductory chapter focuses on evolution of the negotiations on the post-war organization in the restored Czechoslovakia. In this chapter was mentioned historical context with a focus on foreign and domestic resistance movement. A significant part of the diploma thesis is devoted to the constitution and development of the Ministry of Information and its influence on the culture policy of the state, especially to the activities of the Film Department which became one of the most important department of the Ministry of Information after the nationalization of the film industry in the summer of 1945. The Communist Party of Czechoslovakia used the department and cinematography for spreading communist ideology in society. In connection with historical context, the role of the Culture and Promotion Department of the Central Comitee of the Communist Party of Czechoslovakia and the issue of the import and distribution of foreign films were analyzed. The development of the role of the Ministry of Information and the Film Department within the framework of the state's cultural policy is also in the diploma thesis outlined in connection with the events...

Diploma thesis "Film Department of the Ministry of Information 1945 - 1953" deals with the cultural policy in Czechoslovakia after the Second World War. The introductory chapter focuses on evolution of the negotiations on the post-war organization in the restored Czechoslovakia. In this chapter was mentioned historical context with a focus on foreign and domestic resistance movement. A significant part of the diploma thesis is devoted to the constitution and development of the Ministry of Information and its influence on the culture policy of the state, especially to the activities of the Film Department which became one of the most important department of the Ministry of Information after the nationalization of the film industry in the summer of 1945. The Communist Party of Czechoslovakia used the department and cinematography for spreading communist ideology in society. In connection with historical context, the role of the Culture and Promotion Department of the Central Comitee of the Communist Party of Czechoslovakia and the issue of the import and distribution of foreign films were analyzed. The development of the role of the Ministry of Information and the Film Department within the framework of the state's cultural policy is also in the diploma thesis outlined in connection with the events...

This article suggests that the formal elements of Elizabeth Bowen's novel The Heat of the Day underscore both the changing practice of propaganda and the extant tension about Irish neutrality during World War II. Bowen has often been cited as an author who embraces opacity in her fiction, and often this practice is connected in her work to political tensions that she first experienced in Ireland as a result of colonial conflict. The article suggests that a similar strategy, at use in this London-based World War II novel about espionage, highlights this history of tension. Bowen's own position as an intermediary between the Ministry of Information and Irish public opinion provided her a keen insight into British strategy towards Ireland's neutrality. Her Blitz novel, The Heat of the Day, mirrors much of Bowen's formal techniques in her letters to the Ministry of Information, and this article suggests that this reflects the impact of modern propaganda techniques on her war-time novel.

This article suggests that the formal elements of Elizabeth Bowen's novel The Heat of the Day underscore both the changing practice of propaganda and the extant tension about Irish neutrality during World War II. Bowen has often been cited as an author who embraces opacity in her fiction, and often this practice is connected in her work to political tensions that she first experienced in Ireland as a result of colonial conflict. The article suggests that a similar strategy, at use in this London-based World War II novel about espionage, highlights this history of tension. Bowen's own position as an intermediary between the Ministry of Information and Irish public opinion provided her a keen insight into British strategy towards Ireland's neutrality. Her Blitz novel, The Heat of the Day, mirrors much of Bowen's formal techniques in her letters to the Ministry of Information, and this article suggests that this reflects the impact of modern propaganda techniques on her war-time novel.

This work titled Union of Journalists in 1945-1948 is trying to capture the period of reconstruction and building of journalistic community life since the end of Nazi occupation till the communist coup in February 1948. Although it captures only a very short period of time from the rich history of the Czech journalist associations, we believe that this is a crucial period. The work is divided into nine chapters. The introductory chapter focuses on the preparation of the establishment of a new journalistic organization. The second chapter deals with the process of "cleansing" in which journalists organization examined journalists and punish their activities during the Nazi occupation. The third chapter describes the process of creating of post-war media legislation, particularly the role that a journalistic organization played in this process. The fourth chapter focuses on the most important moments of internal community life. The fifth chapter is devoted to the Association of imprisoned journalists. The sixth chapter deals with the renewed activity of journalistic organizations in the international forum. It focuses in particular on the International Organization of Journalists (IOJ) in Prague in 1947. The seventh chapter examines the financial situation, and especially union activities in acquiring real...

Grand oublié de l’histoire du gaullisme, Louis Terrenoire en est pourtant l’un des représentants les plus attestés. Rien ne prédisposait ce Lyonnais d’origine, issu d’une famille modeste, d’abord engagé dans les actions du catholicisme social puis du syndicalisme chrétien à connaître une carrière politique inscrite en tout point dans le sillage du Général. Monté à Paris en 1932 pour entrer au journal L’aube lancé par Francisque Gay, Louis Terrenoire noue des premiers contacts avec les milieux politiques de la démocratie chrétienne. Il se distingue surtout par son engagement en tant que journaliste dans la lutte contre les fascismes. Mobilisé en 1939, il part au combat avec la volonté de défendre la patrie ainsi que ses valeurs républicaines et chrétiennes. Refusant l’armistice, il gagne très tôt les rangs de la Résistance, non en réponse à l’Appel du 18 juin qu’il n’entend pas mais pour prolonger un combat antifasciste entamé dans les années 1930. C’est au cours de ses années de résistance puis en déportation que Louis Terrenoire se découvre gaulliste et commence à se construire une identité politique indissociable du Général. En 1945-1946, il débute une carrière de parlementaire sous l’étiquette MRP. Après la rupture du « parti de la fidélité » avec le Général, Louis Terrenoire décide de le quitter en 1947 pour servir le général de Gaulle. Battu en 1951, il redevient député en 1958 et le reste jusqu’en 1973. Il participe à l’exercice du pouvoir au cours de la guerre d’Algérie en tant que ministre de l’Information, puis ministre délégué aux Relations avec le Parlement de février 1961 à avril 1962 en même temps que porte-parole d’un Général très ouvert au débat en conseil des ministres. Cet itinéraire politique est placé sous le signe d’une fidélité indéfectible à un homme – le général de Gaulle –, à ses idées, et à son œuvre, qui en fait un « baron » à part jusqu’à mort. / Greatly forgotten in the history of Gaullism, Louis Terrenoire is nevertheless one of the most attested representatives of it. Nothing predisposed this Lyonnais, from a modest family, first engaged in the actions of social Catholicism and then Christian trade unionism, to have a political career that was in every respect in the wake of the General. Louis Terrenoire went to Paris in 1932 to join the newspaper “L'aube” launched by Francisque Gay, and made his first contacts with the political circles of Christian Democracy. He stands out above all for his commitment as a journalist in the fight against fascism. Mobolized in 1939, he went into battle with the will to defend the country as well as its republican and christian values. Refusing the armistice, he very early won the ranks of the Resistance, not in response to the Appeal of June 18 that he did not hear but to prolong an antifascist struggle begun in the 1930s. It was during his years of resistance and then in deportation that Louis Terrenoire discovered himself to be a Gaullist and began to build a political identity inseparable from the General. In 1945-1946, he began a parliamentary career under the MRP label. After the break-up of the “loyalty party” with the General, Louis Terrenoire decided to leave him in 1947 to serve General de Gaulle. Beaten in 1951, he became a Member of Parliament again in 1958 and the rest until 1973. He took part in the exercice of power during the Algerian war as Minister of Information, then as Minister Delegate Relations with Parliament from February 1961 to April 1962 and at the same time as spokeman for a General who was very open to debate in the Council of Ministers.This political itinerary is based on an unfailing loyalty to a man- General de Gaulle-, to his ideas and to his work, which makes him a “ baron” apart until his death.

De 1940 à 1944, durant l’occupation allemande de la France, le Ministère de l’Information (Direction générale de la Cinématographie nationale) et le Ministère allemand de la propagande ont tenté de mettre en place une industrie française du dessin animé. Même si la finalité était différente pour les deux organismes d’Etat, le dessin animé a bénéficié durant quatre années d’un réel régime de faveur de la part des gouvernements tant français que allemand. Volontarisme politique et soutien financier inédit se sont conjugués afin de proposer une nouvelle esthétique française du dessin animé qui se tiendrait éloignée du traditionnel cartoon américain : il s’agit alors de désaméricaniser le dessin animé et de promouvoir un art français. Une étude de la réception de cette nouvelle esthétique auprès du grand public, des journalistes et du gouvernement est enfin menée. / During the German occupation of France from 1940-1944, the Ministry of Information (Direction générale de la Cinématographie nationale) and the German Ministry of Propaganda tried to establish a French cartoon industry. Though the motivation was different for the respective state agencies, the cartoon enjoyed four years of support from both French and German governments. Political will and unprecedented financial support combined to offer a new aesthetic for French cartoons, distanced from the American tradition; the desire to create a uniquely French aesthetic represented an important challenge to the American monopoly on animation. The present study examines the reception of this new aesthetic by the general public, journalists and the government.

Rowland Kenney was a British propaganda agent operating in Norway during both the First World War and the Second World War. He has been forgotten by history but the re-discovery of his private collection of materials allows for an analysis of his work. Kenney was deeply involved in the development of propaganda policy and practice. In the First World War, his work in Norway resulted in thousands of pro-British articles appearing in the Norwegian press as well as the realignment of the Norwegian national news agency. In the interwar years, in spite of severe medical difficulties, Kenney continued to work within the field of propaganda, becoming instrumental in the establishment of the British Council. At the start of the Second World War, he returned again to Norway, but was forced to flee during the German invasion of April 1940. During the Second World War, Kenney became the Director of the Northern Section of the Foreign Division in the Ministry of Information where he continued to affect policy-creation and the development of propaganda. There is no doubt that Kenney was a key figure in this development. His professional network and his varied roles within the propaganda bureaucracy speak to his level of involvement, and his documented accomplishments even more so. Finally discovering Kenney's story and his impact illustrates vividly a few aspects of how the practice of propaganda mutated and changed between 1916 and 1942.

Diploma thesis is focused on the administration of the printed journalism by Ministry of Information (from October 1948 Ministry of Information and Education). Ministry was responsible for administration of the printed journalism from May 1945 to January 1953, when was dissolved. Thesis is divided into seven main chapters. The first one sets the topic into Czechoslovak history in years 1945-1953. The second section is focused on the restoration of Czechoslovak Republic during Second World War via perspective of legal and constitutional development. The third chapter characterizes the authority of the government and the ministry in the years 1945-1953. The fourth part deals with administration of the printed journalism before May 1945, which is structured according to historical periods. Period view of the printed journalism in observed period is topic of the fifth chapter. The sixth section is focused on personality of the Minister Václav Kopecký. The last chapter deals with own topic and it is divided into two subchapters (era of years 1945-1948 and 1948-1953). Both of parts contains description of structure of main printed newspapers and magazines, the legislative determination of the printed journalism and the establishment, changes in the internal structure of ministry and the dissolution of...

This thesis offers an important reconsideration of the place of the Second World War within larger narratives of religious change in the twentieth century. While many scholars have subsumed these crucial war years within accounts of inter-war change, or dismissed them as a period of mellow or austere religion, the Second World War provides a significant opportunity for an analysis of religious change that relies on a confluence of vectors. International geopolitics, political consensus, myths of national cohesion, physical constraints, technological developments and currents in ecclesiastical thought each played a role in shaping the religious culture of wartime, one that the author describes as a “spiritual consensus” that prized unity and commonality over difference. This thesis also opens up an important new front for the history of modern Christianity in Britain. The relationship between mass media, religion and national culture has been under-examined by scholars, as has the particular ways that media shapes mental environments. The relationship between the Churches and the Ministry of Information seems to have sat in a penumbra between disciplines, leaving the rich trove of documents at the National Archives about the activities of the Religions Division of the MOI relatively unexamined. This thesis discusses in detail the global and domestic role afforded to an ecumenical Christianity in MOI propaganda. It also adds to existing scholarship that has emphasised the significant place afforded to Christianity in identity construction during the war, and its importance in the articulation of the narratives through which the urgency and necessity of the conflict was understood. / This is a study of the British Broadcasting Corporation’s religious broadcasting practices during the Second World War and its aftermath. Using documentary sources from the BBC Written Archives Centre and the National Archives, this thesis argues that the wartime context allowed the articulation and development of a particular kind of “BBC Religion,” one that celebrated commonality over difference, emphasized the importance of accessibility, and focused on individual rather than communal worship. BBC Religion was an important site of national propaganda and national identity construction, and was central to the celebration of key civil religious festivals, including the National Days of Prayer. BBC Religion provided listeners with daily prayers, devotionals, talks and entertainments to offer psychological and spiritual support during a time of crisis. Religion can be an effective tool of persuasion, particularly when propaganda builds on pre-­existing beliefs and loyalties. The Ministry of Information and BBC used a generic, practical Christianity as an “ecumenical weapon” to foster unity in Britain and between Allies. This thesis argues that the medium of radio and the technological and physical constraints of war shaped the particular articulation of BBC Religion. While the BBC helped foster a “spiritual consensus” during the war, this consensus quickly degraded in the in the aftermath of the conflict. Instead, the BBC articulated principles of tolerance and liberty in a more straightforward way, celebrating the return of regional and religious diversity in radio programming. In 1948, the BBC broke with its former “ban on controversy” to allow Bertrand Russell to openly question the existence of God on the air for the first time. This study offers a revision to “caesura” and “gradual-­declinist” narratives of religious change by suggesting that religious change in the mid-­twentieth century may be more episodic in nature, and that current historiography would benefit from an approach that considers the formation, development and adaptation of multiple discursive Christianities. / Thesis / Doctor of Philosophy (PhD) / This is a study of the place of religion in British public life during the Second World War. The British Broadcasting Corporation (BBC) was tasked with creating popular, upbeat entertainment that could boost the morale of the nation while reminding listeners of the reasons to stay committed to the fight. They created a “BBC Religion” during the war, one that emphasised unity by stressing commonalities between all kinds of Christians, and offered psychological and spiritual comfort to listeners in a time of crisis. The Religious Broadcasting Department created engaging content that prized accessibility and simplicity above all, commissioning beloved programmes, including C.S. Lewis’s Mere Christianity, Dorothy L. Sayers’ The Man Born to be King, and Lift Up Your Hearts, a precursor to Radio 4’s Thought for the Day. When the urgency of the conflict passed and victory became assured, this BBC Religion ceased to serve a propagandistic function. Instead, the post-­war BBC celebrated diversity and respected differences in religious belief and interpretation instead of forcing conformity.