The Professionalization of Public Relations in the Romanian Army

2016 ◽  
Vol 22 (2) ◽  
pp. 401-406
Author(s):  
Răduţ Bîlbîie
Keyword(s):  
World War Ii ◽  
World War I ◽  
Public Relations ◽  
Transition Period ◽  
Code Of Ethics ◽  
The United States ◽  
Critical Periods ◽  
World War ◽  
Political Crises ◽  
The Government

Abstract The communication structures of the Ministry of National Defense have a considerable seniority and have played an important role both in different historical, critical periods for the country (wars, political crises) or institutional building (the forming of the Romanian army, of the modern command structures, etc.) as well as during the transition period after 1989. The first military publication, Observatorul Militar, (Military Observer), was released in 1859, being followed by a few thousands of magazines, newsletters, specialized directories, or during the war years of information and opinion journals such as Romania, organ of the General Headquarters, in the years of World War I, or Soldatul (The Soldier), Santinela (The Sentry), during the years of World War II. One after another, others followed such as: since 1916 Studioul Cinematografic al Armatei (Army Cinema Studio), originally, a photo-cinema structure, then specialized in the documentary film: history, presentation or training, and, since 1940, on public radio frequencies Ora Ostaşului (Ora Armatei), (Soldier’s Hour, Army’s Hour), then since 1968, a television broadcast on public television station broadcasting frequencies, since 1996 the web products (the first web site of an army in Eastern Europe, the first site of a ministry within the Government of Romania). The force and the role of the structures varied from period to period Studioul cinematografic (The Cinematographic Studio) had in 1989, 217 employed people, military and civilians, today there are less than 15), according to the budgets and the importance of what they were given by the management structures. The revolution of December 1989 marked the depoliticization of the communication act and the switch to the professionalization of the specialized structures, transforming their propaganda tools into products and means of Public Relations. The years 1990-1995 have marked this process through: (a) the establishment of structures, (b), staff training (in France, Switzerland, Germany, but especially in the United States), (c) the completion of the first guides, instructions, procedures for the field, (d) the opening of the first course for specialists, (e) the initiation of a quarterly specialized magazine Panoramic militar, (Military Panorama), (f) a code of ethics for practitioners.

Financing Industrial Expansion for War: The Origin of the Defense Plant Corporation Leases

1949 ◽  
Vol 9 (2) ◽  
pp. 156-183 ◽  
Author(s):  
Gerald T. White
Keyword(s):  
World War Ii ◽  
World War I ◽  
The United States ◽  
World War ◽  
Industrial Facilities ◽  
The Great Depression ◽  
War Finance ◽  
The Government ◽  
Under Construction ◽  
New Facilities

One of the recent tendencies in the United States has been the movement away from private methods of finance to finance through government agencies, a trend that has been particularly noticeable during periods of national catastrophe such as wars and depressions. In these periods we have seen, in addition to other sources of government financing, the use of the War Finance Corporation during World War I and the use on a far larger scale of the Reconstruction Finance Corporation during the Great Depression and World War II.During World War II two thirds of a total expenditure for industrial facilities of approximately $25 billion was directly financed by the government. In contrast, during the three-year period of 1917–1919, only about one tenth of the $6 billion in new facilities under construction was directly financed by the government.

Italian Cinema

2012 ◽  
Author(s):  
Peter Bondanella
Keyword(s):  
World War Ii ◽  
World War I ◽  
Film Theory ◽  
The United States ◽  
Government Support ◽  
Italian Cinema ◽  
World War ◽  
Box Office ◽  
The Government ◽  
The 1960S

Italian national cinema developed quickly between the last decade of the 19th century and the outbreak of World War I (particularly in Turin and also in Rome), and it won a sizeable share of film audiences around the world for, in particular, its epic films set in classical settings. The outbreak of the war virtually destroyed the industry, but with the coming of sound and the advent of the Fascist government, support for the industry grew before World War II broke out, with the building of the film studio complex at Cinecittà (“Cinema City”), the establishment of Luce (the government agency charged with producing documentaries and newsreels), and the opening of an important national film school in Rome, the Centro Sperimentale di Cinematografia. Unlike its counterparts in totalitarian Russia or Germany, the Italian industry was not completely dominated by government propaganda, and in fact some of the major Fascist figures in the industry wanted to imitate the entertainment of Hollywood rather than support a completely ideological cinema. Major directors emerged during this period, such as Mario Camerini, Alessandro Blasetti, and Vittorio De Sica (all of whom continued to work after the end of the war), and the cinema during the Fascist period trained a great many people involved in basic film production who were to play a vital role in the dramatic rebirth of Italian cinema after 1945. With the end of the war, Italian neorealism burst on the international scene. Such figures as Roberto Rossellini, De Sica, Luchino Visconti, and Giuseppe De Santis won international acclaim for their “realistic” portrayal of contemporary Italian social and economic problems. During the 1950s, many young directors (Rossellini, Michelangelo Antonioni, Federico Fellini, and Pietro Germi among them) sought to move beyond the kind of programmatic social realism Marxist critics in Italy and France championed, and in the 1960s a second generation of even younger figures (Pier Paolo Pasolini, Marco Bellocchio, Bernardo Bertolucci, Gillo Pontecorvo, and Francesco Rosi) looked both backward to their Italian neorealist heritage and abroad to French cinema for inspiration. During the same time, but less beloved by film scholars and critics, Italian cinema began to produce an enormous number of highly profitable works that might be described as genre films or, to use the Hollywood term, B films. First, in the late 1950s and the 1960s, the peplum or “sword and sandal” epic film starring foreign bodybuilders became immensely popular and was quickly exported. This genre was followed closely by the spaghetti western, an incredibly successful genre that produced almost five hundred films in a very short time and revolutionized the face of a classic Hollywood genre almost overnight. Subsequently, in the 1970s and 1980s, the thriller (known as a giallo in Italy) and the spaghetti horror film (with its zombie and cannibal variants) were also extremely popular. Perhaps the most popular genre of all, one that continued to thrive during the entire postwar period, was the so-called commedia all’italiana or “comedy, Italian style,” a form of comic film indebted not only to the traditional commedia dell’arte but also to a collection of brilliant actors and scriptwriter-directors who combined humor with a biting and often cynical vision of Italian culture, providing a type of social criticism that Italy’s politicians often avoided. The period between 1945 and around 1975 thus witnessed an Italian cinema that managed to combine popular entertainment in a variety of film genres with art films, box office power with critical acclaim at film festivals and among auteur-oriented critics and film historians. Nevertheless, directors and technicians of genius continued to work, and in the last decade some new faces have added luster and box office appeal to the national cinema’s treatment of new themes (racial and gender identity in a multiethnic and multicultural Italy, terrorism, crime, and the Mafia), themes that have evolved in Italian cinema’s reflection of everyday reality in the peninsula. Italian film scholarship has evolved dramatically in the recent past, moving from a focus on postwar neorealism and the art film toward a broader definition of film history that encompasses an interest in multicultural themes, more film theory imported from abroad (especially from the United Kingdom and the United States), and more interest in two periods (the silent era and the Fascist period) that have long been neglected in comparison with postwar Italy.

Morality for the “Democracy of God”: George Albert Coe and the Liberal Protestant Critique of American Character Education, 1917–1940

2005 ◽  
Vol 15 (1) ◽  
pp. 107-144 ◽  
Author(s):  
David P. Setran
Keyword(s):  
World War Ii ◽  
World War I ◽  
Character Education ◽  
Moral Education ◽  
Social Order ◽  
The United States ◽  
Columbia University ◽  
World War ◽  
Moral Decision Making ◽  
American Character

AbstractIn the years between World War I and World War II in the United States, public and religious educators engaged in an extended struggle to define the appropriate nature of character education for American youth. Within a post-war culture agonizing over the sanctions of moral living in the wake of mass violence and vanishing certitudes, a group of conservative educators sought to shore up traditional values through the construction of morality codes defining the characteristics of the “good American.” At the same time, a group of liberal progressive educators set forth a vigorous critique of these popular character education programs. This article analyzes the nature of this liberal critique by looking at one leading liberal spokesperson, George Albert Coe. Coe taught at Union Theological Seminary and Teachers College, Columbia University, and used his platform in these institutions to forge a model of character education derived from the combined influences of liberal Protestantism and Deweyan progressive education. Coe posited a two-pronged vision for American moral education rooted in the need for both procedural democracy (collaborative moral decision making) and a democratic social order. Utilizing this vision of the “democracy of God,” Coe demonstrated the inadequacies of code-based models, pointing in particular to the anachronism of traditional virtues in a world of social interdependence, the misguided individualism of the virtues, and the indoctrinatory nature of conservative programs. He proposed that youth be allowed to participate in moral experimentation, adopting ideals through scientific testing rather than unthinking allegiance to authoritative commands. Expanding the meaning of morality to include social as well as personal righteousness, he also made character education a vehicle of social justice. In the end, I contend that Coe's democratic model of character education, because of its scientific epistemological hegemony and devaluing of tradition, actually failed to promote a truly democratic character.

Loathsome Deutschtum?

2021 ◽  
pp. 239-264
Author(s):  
Julie Hubbert
Keyword(s):  
World War Ii ◽  
World War I ◽  
Automobile Industry ◽  
Symphony Orchestra ◽  
The United States ◽  
American Democracy ◽  
World War ◽  
National Socialist ◽  
Integral Role ◽  
The Will

Much has been said about the Nazi appropriation of Wagner’s music in the 1930s and 1940s. As early as 1933, Hitler transformed the Bayreuth Festival into a celebration of National Socialist ideology and propagated miniature Wagner festivals to celebrate his own birthday. Wagner’s music also resounded throughout the culture and media at large. What has been less understood and examined, however, is how this same music was also used in nonnarrative films, newsreels, government documentaries, and industrial and advertising films of the period. Here the appropriation of Wagner is more complex and problematic. Master Hands (1936), the critically acclaimed, feature-length industrial film sponsored by the American car company Chevrolet, is an excellent example. As several film scholars have observed, the film is an artistic advertisement for the American automobile industry that borrows heavily from Riefenstahl’s Triumph of the Will. But the film’s score, a compilation full of Wagner excerpts, arranged by composer Samuel Benavie and performed by the Detroit Symphony Orchestra, about which almost nothing has been said, is equally propagandistic. By examining the music for this industrial advertisement for Chevrolet, this chapter not only re-examines the reception of Wagner in the United States between the World War I and World War II but also examines the integral role his music played in the creation of American films of persuasion. It explores the use U.S. industrial filmmakers made of Wagner’s music as an audible signifier not for German fascism but to advertise for American democracy, industry, and capitalism.

scholarly journals The UK-US Game and UK's Return to Gold Standard

2020 ◽  
Vol 5 (4) ◽  
pp. 324
Author(s):  
Zheming Zhang
Keyword(s):  
United States ◽  
World War Ii ◽  
World War I ◽  
Economic System ◽  
Gold Standard ◽  
International Economic Order ◽  
The United States ◽  
World War ◽  
The World ◽  
The Uk

<p>With the continuous development and evolution of the United States, especially the economic center shift after World War II, the United States become the economic hegemon instead of the UK and thus it seized the economic initiative of the world. After the World War I, the European countries gradually withdraw from the gold standard. In order to stabilize the world economy development and the international economic order, the United States prepared to build the economic system related with its own interests so as to force the UK to return to the gold standard. The game between the United States and the UK shows the significance of economic initiative. Among them, the outcome of the two countries in the fight of the financial system also demonstrates a significant change in the world economic system.</p>

scholarly journals Constitutional law and international law at the turn of the century

2017 ◽  
Vol 1 (1) ◽  
pp. 1 ◽  
Author(s):  
JA Frowein
Keyword(s):  
World War Ii ◽  
World War I ◽  
International Law ◽  
Constitutional Law ◽  
The United States ◽  
Fundamental Rights ◽  
Strong Impact ◽  
World War ◽  
Constitutional Courts ◽  
Constitution Making

Constitutional law and international law operate in simultaneous conjunction and reciprocal tension. Both fields seem to have overcome the great challenges of destruction and neglect in the course of the 20th century. Both after World War I and World War II the world experienced new waves of constitution making. In both cases the current German constitutions (the Weimar Constitution of 1919 and the Grundgesetz of 1949) were influential. Characteristic of constitution-making in this century, is the final victory of liberal constitutions based on the rule of law, the Rechtsstaat, fundamental rights, meaningful control of public powers and the establishment of constitutional courts. Following the destruction of World War II, the notion of the Sozialstaat emerged strongly in Germany. In contrast to the Constitution of the United States of America, the principle of the responsibility of the state for social justice has emerged in almost all new constitutions, including Russia, Poland, South Africa, Spain, Italy and Portugal. Where courts are given the mandate to interpret bills of rights, fundamental rights have been developed into foundation stones of the legal system. The presence in a Bill of Rights of restrictive clauses, is important for its analysis. Generally restrictive clauses in new constitutions try to limit the possibilities of restriction. The importance of constitutional rules establishing and legitimizing the political organs, must not be overlooked. Of particular importance is the degree of control over the head of state, a positive attitude among political actors towards the constitution and the protection of the interests of minorities in a democratic system. In the field of Public International Law much of Kant's ideal of an international confederation of peace has been realized. Since 1990 the United Nation's Security Council has shown the potential of becoming a directorate for the community ofnations. International law has also been instrumental in the worldwide recognition of human rights. Especially in Europe, Convention Law has had a strong impact. Furthermore, global and regional systems of regulation have tended to alter the legal attitude towards state sovereignty. It may be that the South African constitutional approach in terms of which international law is subject to constitutional and other national law, is not in line with international tendencies.

War and the Next Lesson

Money ◽  
2017 ◽  
Author(s):  
John Kenneth Galbraith ◽  
James K. Galbraith
Keyword(s):  
United States ◽  
Monetary Policy ◽  
World War Ii ◽  
Fiscal Policy ◽  
World War I ◽  
Great Depression ◽  
The United States ◽  
World War ◽  
John Maynard Keynes ◽  
The Great Depression

This chapter examines the lessons of World War II with respect to money and monetary policy. World War I exposed the fragility of the monetary structure that had gold as its foundation, the great boom of the 1920s showed how futile monetary policy was as an instrument of restraint, and the Great Depression highlighted the ineffectuality of monetary policy for rescuing the country from a slump—for breaking out of the underemployment equilibrium once this had been fully and firmly established. On the part of John Maynard Keynes, the lesson was that only fiscal policy ensured not just that money was available to be borrowed but that it would be borrowed and would be spent. The chapter considers the experiences of Britain, Germany, and the United States with a lesson of World War II: that general measures for restraining demand do not prevent inflation in an economy that is operating at or near capacity.

The Politically Weak

2020 ◽  
pp. 93-119
Author(s):  
Martin Crotty ◽  
Neil J. Diamant ◽  
Mark Edele
Keyword(s):  
United States ◽  
World War Ii ◽  
World War I ◽  
Political Process ◽  
The United States ◽  
The Political ◽  
World War ◽  
Long Period ◽  
The United Kingdom ◽  
Democratic Systems

This chapter investigates the cases of victory and defeat and explains what politically influential veterans were able to produce to secure benefits and rights. It focuses on China after its long period of war and civil war that ended in 1949, the United Kingdom after both world wars, the United States after World War I, and the USSR after World War II. It analyses the cases wherein veterans had little or limited success in securing meaningful social and political status. The chapter identifies factors that determine the veterans' status, where it is victory or defeat, or authoritarian versus democratic systems of government. It discusses the political process and the attempts to convert claims into entitlements in order to explain the negative outcomes for the veterans of victorious armies.

Henry Cowell and the West Coast Dance Scene

Artful Noise ◽  
2020 ◽  
pp. 42-63
Author(s):  
Thomas Siwe
Keyword(s):  
World War Ii ◽  
World War I ◽  
West Coast ◽  
Modern Dance ◽  
The United States ◽  
Arnold Schoenberg ◽  
World War ◽  
The West ◽  
Twelve Tone ◽  
Henry Cowell

Modern dance and music for percussion are linked through the works of musicians who studied with the iconoclastic composer Henry Cowell. This chapter highlights the work of numerous artists who were involved in the dance and music scene along the West Coast of the United States during the 1930s and 1940s. Cowell’s early publishing venture New Music helped launch the careers of composers Johanna Beyer, William Russell, Lou Harrison, John Cage, and others. The latter two composers, Harrison and Cage, also studied with the Austrian American composer Arnold Schoenberg whose use of the twelve-tone technique became central to the music of the twentieth century. The chapter ends with a summary of percussion music’s development from the decades before World War I to the compositional hiatus caused by World War II.

The Price of Failure

2019 ◽  
pp. 119-134
Author(s):  
Anand Toprani
Keyword(s):  
World War Ii ◽  
World War I ◽  
Foreign Exchange ◽  
The United States ◽  
Critical Assessment ◽  
Early Years ◽  
Western Hemisphere ◽  
World War ◽  
Cape Of Good Hope ◽  
Energy Needs

This chapter provides critical assessment of Britain’s post-World War I oil strategy and details the strategic consequences of its failure during the early years of World War II. It reveals the irreconcilable dilemma that doomed Britain’s attempts to satisfy its energy needs independently in wartime: a shortage of tankers and foreign exchange. Reducing the foreign exchange burden meant increasing imports from the Middle East, which stretched Britain’s supply of tankers to the breaking point, since there were not enough to redirect imports around the Cape of Good Hope after Italian hostility threatened access through the Mediterranean. Drawing oil from the Western Hemisphere required fewer tankers but also cost foreign exchange. Ultimately, Britain’s survival after 1940—as after 1917—depended upon the assistance of the United States.

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