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Modernism, Media, and Propaganda:
British Narrative from 1900 to 1945
Mark Wollaeger

Book Description | Reviews
Introduction [HTML] or [PDF format]

TABLE OF CONTENTS:

List of Illustrations ix
Preface xi
Acknowledgments xxiii

INTRODUCTION: Modernism and the Information-Propaganda Matrix 1

Making Sense of Propaganda: From Orwell and Woolf to Bernays and Ellul 2
Propagating Fictions: Wellington House, Modernism, and the Invention of Modern Propaganda 13
Modernism and the Media of Propaganda: Heart of Darkness and "The Unlighted Coast" 26

CHAPTER ONE: From Conrad to Hitchcock: Modernism, Film, and the

Art of Propaganda 38
Manipulation and Mastery: Film, Novel, Advertising 42
From Novel to Theater to Film to Hollywood: In Search of an Audience 48
Killing Stevie: Death by Literalization/Death by Cinematography 55
Picking up the Pieces: Modernism, Propaganda, and Film 62

CHAPTER TWO: The Woolfs, Picture Postcards, and the Propaganda of Everyday Life 71

Postcards, Exhibitions, and Empire 77
Woolf and the Culture of Exhibition 84
Education as Propaganda: Bildungsroman, Sex, and Empire 88
Scripting the Body: Colonial Postcards and the Journey Upriver 93
Leonard's Jungle, Conrad's Trees 105
In Virginia's Jungle 111
Destabilizing the Ethnographic Frame and the Returned Stare 117
Empire, Race, and the Emancipation of Women 120
From Male Propaganda to Female Modernism 123

CHAPTER THREE: Impressionism and Propaganda: Ford's Wellington House Books and The Good Soldier 128

Ford and Wellington House 130
Ford's Critical Writings: Propagating the Impression 135
Impressing Facts: When Blood Is Their Argument and Between St. Dennis and St. George 145
Navigating the Pseudo-Environment in The Good Soldier 151

CHAPTER FOUR: Joyce and the Limits of Political Propaganda 164

Recruitment and the Art of the Poster 166
Reading Posters/Reading Ulysses 176
Maeve, Bloom, and the Limits of Propaganda 192
Identification, Cultural Predication, and Narrative Structure 200
Carnivalizing Propaganda: Bloom and Stephen in Nighttown 203
Reinventing Ireland: Ulysses and the Art of Dislocation 213

CHAPTER FIVE: From the Thirties to World War II: Negotiating Modernism and Propaganda in Hitchcock and Welles 217

War, Propaganda, and Film: Pairing Hitchcock and Welles 222
Orson Welles: Theater, Film, and the Art of Propaganda 229
Autonomy and Innovation: From the Studio to the MoI and CIAA 239
Citizen Kane and It's All True: Documentary and Propaganda 242
Bon Voyage, Aventure Malgache, and the Materiality of Communication 251

Coda 261
Notes 269
Index 323

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File created: 10/23/2013

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