'I need bones for explosives' from England, WW2

World of Art

£6.99 

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A truly fascinating collection of reproduction vintage British World War II Propaganda posters, faithfully reproduced on quality 200gsm-thick four-star Green Star eco-friendly paper with a soft-satin low-sheen finish which reduces the gloss effect allowing for a wider perspective of the image from different angles. Green star system approved paper is a universally recognised eco-responsibility paper based on the origin of the fibre and the manufacturing process. Using high quality inks for a longer lasting effect you can be assured your poster will be with you for years to come. All our posters are standard A3 size and look beautiful with or without frames but if you're thinking of framing then a standard A3 frame will fit perfectly. All posters come with a thin white border. We have over 12,000 posters in stock so please do check back in regularly for new items as we list them as quickly as possible.

Please note before ordering all our posters are reproduction posters

Standard A3 Size

16.53" x 11.69"

42cm x 29.7cm

420mm x 297mm

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...Britain re-created the World War I Ministry of Information for the duration of World War II to generate propaganda to influence the population towards support for the war effort. A wide range of media was employed aimed at local and overseas audiences. Traditional forms such as newspapers and posters were joined by new media including cinema, newsreels and radio. A wide range of themes were addressed, fostering hostility to the enemy, support for allies, and specific pro war projects such as conserving metal and growing vegetables. The story of the British cinema in the Second World War is inextricably linked with that of the Ministry of Information. Formed on 4 September 1939, the day after Britain's declaration of war, the Ministry of Information (MOI) was the central government department responsible for publicity and propaganda in the Second World War. It was the Ministry's function to "present the national case to the public at home and abroad". The MOI was keenly aware of the value of commercially produced entertainment films in furthering the national cause generally and maintained close contact with film makers: The Ministry both advised the producers on the suitability of subjects which they had suggested, and proposed subjects which we thought would do good overseas. Whenever the Ministry had approved a subject we gave every help to the producer in obtaining facilities to make the film. As a result, the typical British war film attempts to construct a gripping suspense story which at the same time conveys propaganda ideas in support of the Allied cause. Kenneth Clark, as head of the Films Division of the MOI, argued in 1940 that the public must be convinced of German brutality, stating "we should emphasise wherever possible the wickedness and evil perpetrated in the occupied countries." Subsequently, the Home Planning Committee felt it essential to portray fully "the evil things which confront us ... to fortify the will to continue the struggle". By 1942, the fear of invasion, as depicted in films such as Went the Day Well?, had receded, and film makers began to turn to the brutal reality of life in occupied countries. The Day Will Dawn (1942) was a film about the Norwegian resistance, while Uncensored told the story of the Belgian resistance. Tomorrow We Live show the French Resistance and the heroism of ordinary French civilians, while One of Our Aircraft Is Missing (1942) shows Dutch civilians risking their lives to help a group of British airmen back to England. Films were also imported. Churchill ordered the entire sequence of Frank Capra's Why We Fight to be shown to the public.


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