Theses and Dissertations from UMD
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Item WHEN GLOBAL CONSPIRACY THEORIES BECOME LOCAL PROPAGANDA: THE INFLUENCE OF CHINA AND U.S. RIGHT-WING COVID-19 NARRATIVES ON TAIWAN(2023) Li, Wei-Ping; Oates, Sarah; Journalism; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)This dissertation examined how foreign conspiracy theories propagated by authoritarian countries traverse national borders and are transformed into “news” in domestic media systems. It also assessed the impact of these conspiracy theories incorporated into the transnational information campaign as propaganda tools. Using the controversial COVID-19 virus-origin theory as a case study, this dissertation examined how the COVID-19 virus-origin conspiracy theories were constructed as propaganda by Chinese state media and how these conspiracy theories influenced the media in Taiwan, which has historically been the main target of China's information influence activities. After analyzing COVID-19 virus-origin narratives that contained conspiracy theories propagated by Chinese state media, the study found that the Chinese state media constructed its narratives about the origin of the COVID-19 virus by repeating consistent themes, recurrent terms, and assigning distinctive personalities to key protagonists in news events. The Chinese state media portrayed China as a team player in the international community and collaborated with the international community by sharing data openly. However, the United States and other Western nations attempted to contain the rise of China by attacking it with conspiracy theories about the origin of the virus. The Chinese narratives were mostly rejected by mainstream Taiwanese media. Although Taiwanese media mentioned some conspiracy theories promoted by Chinese state media, Taiwanese media were aware of Chinese propaganda and disinformation. They also viewed the disputes between China and the United States regarding the origin of the virus as a struggle for power between the two nations. Even though Taiwanese media and Chinese state media used identical terms to describe the same news events about the origin of the COVID-19 virus and highlighted the same protagonists, Taiwanese media presented narratives that were in stark contrast to Chinese media. The research concluded that Chinese state media had limited influence on Taiwanese media in the case of COVID-19 virus-origin narratives. Nonetheless, this study also uncovered a concerning trend: a number of Taiwanese media articles amplified conspiracy theories disseminated by right-wing American media outlets, such as the War Room, Newsmax, or overseas Chinese media organizations notorious for spreading disinformation. The improper use of foreign media as news sources is one of the vulnerabilities of Taiwanese media in the battle against foreign propaganda and conspiracy theories. This dissertation increased the understanding of the influence of conspiracy theories propagated by authoritarian regimes and identified elements crucial to their success or failure as propaganda tools. Moreover, it sheds light on the strengths and weaknesses of media systems in democratic nations when battling against foreign propaganda. The findings of this study are useful not only to Taiwan but also to democratic and open societies worldwide.Item The Comedy Propaganda Machine: The Soldier Sketch Writing Contest of World War II(2022) Demmy, Tara Noelle; Hildy, Franklin J; Theatre; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)In 1941, the U.S. military faced the challenge of preparing to fight a war on two fronts (thousands of miles away against formidable foes) and finding comedy scripts to entertain soldiers. Wait, what? It is true, “comedy” was on the country’s long and complicated to-do list for World War II, in addition to recruiting millions of people and producing ships, aircraft, artillery, tanks, food, and ammunition. The army’s soldier show program included contests, quizzes, one-act plays, musicals, vaudeville acts, minstrel shows, and radio comedy. Military manuals detailed how to act, direct, write, and build props and costumes. The goal was to provide soldiers with the skills to self-entertain, no matter the conditions. Soldier entertainment during World War II was expansive, including Entertainment Units and USO shows, but this study focuses on informal shows, performed for and by troops in combat zones overseas. Two organizations led this effort: the Special Service, a branch of the U.S. Army, which facilitated all leisure and recreation programs for GIs, including dances, camp newspapers, music, educational programs, and sports; and the Writers’ War Board, a propaganda agency run by celebrity writers. Funded administratively by the U.S. Government’s Office of War Information (OWI), the Writers’ War Board sought to rectify the mistakes of state-run propaganda campaigns of World War I, aiming to integrate pro-war sentiment into American’s daily entertainment streams. The Special Service made the argument to commanding officers that participation in comedy would make men into better soldiers. They believed that comedy would promote and maintain what they termed “combat morale,” or the will to kill / be killed on behalf of the organization and its objectives. Using comedy to convince men to risk their lives and take the lives of others, does indeed feel like an act of propaganda. Using research from five archival collections, this dissertation asks: How did sketch comedy promote and maintain combat morale during World War II? Or in other words, how did sketch comedy function as propaganda, convincing men to risk everything? Soldier shows improved the combat efficiency of the soldier through the development of individuality, development of leadership, development of esprit de corps, and provided a means of relaxation from mental stress. The 1944 sketch writing contest for the armed services, the pinnacle collaboration between the Writers’ War Board and the Special Service, serves as the through line of this dissertation. This contest, culminating in the published booklet titled GI Prize Winning Blackouts (1944), features short funny scenes about army life. Present-day military veterans participated in workshops where they read the World War II sketches aloud and discussed them in relation to their own service. Each chapter includes embedded audio files and direct quotes, centering their perspectives as credible experts. War, like comedy, often holds multiple, even contradictory meanings. Tensions are explored within each chapter, adding complexity to my understanding of the relationship between comedy, morale, propaganda. Comedy, despite its “entertaining” nature, needs to be critically engaged, especially during periods of crisis, when audiences are most vulnerable. As during a pandemic, or war, comedy audiences (of social media, performance, and everyday joking) must be aware of their desperate need for connection and therefore their vulnerability to consciously or unconsciously be convinced to join a group and act on behalf of it. The Special Service and Writers’ War Board worked together to turn a group of civilians into effective combat soldiers, willing to risk their lives in battle. This case study speaks to the power of comedy as propaganda at a time when the stakes were incredibly high.Item THE EMPEROR’S TEARS: GRIEF AND MOURNING IN THE PROPAGANDA OF NAPOLEONIC FRANCE(2021) Treadwell, Charlotte Susan; Kosicki, Piotr H; History; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)This thesis explores Napoleon’s use of grief and mourning in propaganda. Drawing on military bulletins, published accounts of funerals, and poetry and prose, this thesis examines portrayals of the deaths of Jean Lannes and Géraud-Christophe Michel Duroc in official propaganda, and the responses these portrayals provoked in popular culture and private correspondence. This thesis outlines ways in which Napoleon and his government portrayed and evoked grief and mourning in order to influence public opinion, including depicting Napoleon’s grief in order to construct a sympathetic portrait of him, evoking grief within the army as a source of motivation, and using public commemoration of the dead to glorify the empire and provide a model of heroism and devotion for France’s soldiers and citizens to emulate.Item Call and Response: The Efficacy of British Wartime Propaganda in Palestine and Bahrain During the Second World War(2018) Gitlin, Jackelyn Joy; Wien, Peter; History; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)During the Second World War, Britain employed propaganda campaigns abroad to their vast empire in the hopes of maintaining their control over their territories in the face of Axis aggression. The mandate of Palestine and the protectorate of Bahrain both saw British propaganda efforts in both their respective countries as Britain sought to sway Arab hearts and minds during the war. Britain hoped to counter Axis propaganda in both Palestine and Bahrain and attain their goal of maintaining influence across their territories. This thesis argues that this propaganda effort was ultimately not the motivating factor for why Arabs supported Britain and the Allies or quieted their outward anti-British sentiments. Local elites in both Palestine and Bahrain sought to gain favor and status with the British for their own personal agendas, rather than allying with Britain due to successful propaganda policies.Item Empowering Images: Negotiating the Identity of Authority through Material Culture in the Hellenistic East, 140-38 BCE(2014) Hwang, HyoSil Suzy; Venit, Marjorie S; Art History and Archaeology; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)During the late-second to first century BCE, Tigranes II the Great of Armenia (140-55 BCE), Antiochos I Theos of Commagene (ca. 86-38 BCE), and Mithridates VI Eupator of Pontus (134-63 BCE) employed multivalent imagery to legitimize their positions and assert their authority amid the changing political landscape of the Hellenistic East. Each king's visual program shaped and reflected the political dynamics of his reign, the mixed cultural identity of his population, and the threats posed by foreign powers. As the kings negotiated their positions within an environment rife with military conflict and in territories composed of multi-ethnic populations, they created nuanced visual programs that layered ties to multiple historic precedents and religious authorities. Each king's program intended to communicate differently to diverse audiences - both foreign and domestic - while simultaneously asserting the king's position as the ruler of a powerful and unified realm. This dissertation considers the rulers' creation and dissemination of such imagery, revealing new dimensions of ruling ideologies and visual culture in the Late Hellenistic East.Item Re: America. Architecture, Propaganda, and the Dream(2012) Obringer, Justin; Ambrose, Michael; Architecture; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)The American Dream is terribly misleading. The phrase implies a singularity, as if all people share precisely the same dream. "The Dream" implied only success and happiness; it did not dictate the form that housed happiness. The form was inconsequential; it was the symptom not the realization of success. The form was meant to encourage living, not project a status. The resulting suburb may be detrimental to the environment, but the suburban lifestyle was not itself detrimental to the evolution of architecture. It was neither a definitive step backwards nor forwards. Now however, the forms and ubiquitous images associated with the suburbs have caused stagnation and no significant architectural development concerning suburban living has rivaled the 1950s propagandized model. The purpose of this thesis is to reinvent the formal concept of "suburban" living in a manner which does justice to the "American Dream" and the individuality of all the "dreamers."Item German Radio Propaganda in the Soviet Union: A War of Words(2012) Butsavage, Christopher James; Herf, Jeffrey; History; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)The focus of this study is the content of Nazi radio propaganda to and concerning the Soviet Union. The radio was a new and innovative means for the Nazi regime to directly communicate with the masses of illiterate civilians in the Soviet Union on a daily basis. This study finds that as the war in the east progressed, there was an increasingly stark dichotomy between the positive messages found within German radio propaganda and the harsh reality of the Nazi occupation. It seems almost as though there was a morbid inverse correlation between the amount of violence the Germans inflicted upon civilians (including forcibly sending them to work in Germany) and the amount of radio propaganda exhorting these same civilian populations to join the Nazi cause. It is also important to note that every German radio broadcast to Eastern Europe and the Soviet Union was not propaganda. In fact, by 1943, a great deal of news items broadcast on German radio in occupied territory were administrative in nature. Announcements such as local curfews, blackouts, conscription and mobilization decrees, and warnings were frequently broadcast.Item From the Belly of the HUAC: The Red Probes of Hollywood, 1947-1952(2009) Meeks, Jack Duane; Beasley, Maurine H; Journalism; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)ABSTRACT Title of Document: FROM THE BELLY OF THE HUAC: THE RED PROBES OF HOLLYWOOD, 1947–1952 Jack D. Meeks, Doctor of Philosophy, 2009 Directed By: Dr. Maurine Beasley, Journalism The House Un–American Activities Committee, popularly known as the HUAC, conducted two investigations of the movie industry, in 1947 and again in 1951–1952. The goal was to determine the extent of communist infiltration in Hollywood and whether communist propaganda had made it into American movies. The spotlight that the HUAC shone on Tinsel Town led to the blacklisting of approximately 300 Hollywood professionals. This, along with the HUAC’s insistence that witnesses testifying under oath identify others that they knew to be communists, contributed to the Committee’s notoriety. Until now, historians have concentrated on offering accounts of the HUAC’s practice of naming names, its scrutiny of movies for propaganda, and its intervention in Hollywood union disputes. The HUAC’s sealed files were first opened to scholars in 2001. This study is the first to draw extensively on these newly available documents in an effort to reevaluate the HUAC’s Hollywood probes. This study assesses four areas in which the new evidence indicates significant, fresh findings. First, a detailed analysis of the Committee’s investigatory methods reveals that most of the HUAC’s information came from a careful, on–going analysis of the communist press, rather than techniques such as surveillance, wiretaps and other cloak and dagger activities. Second, the evidence shows the crucial role played by two brothers, both German communists living as refugees in America during World War II, in motivating the Committee to launch its first Hollywood probe. Third, an examination of the HUAC’s practice of requiring witnesses to name names shows this to be an on–going exercise of data triangulation. Finally, the documents in the HUAC archives reveal an overriding concern with exposing the activities and practices of communist front organizations, which the Committee viewed as powerfully effective venues for communist propaganda. In summary, the newly available archival evidence, upon which this dissertation uniquely draws, indicates the HUAC operated in a less sinister manner than previously supposed and, thus, revises previous scholarship on the HUAC.Item LISA SERGIO: HOW MUSSOLINI'S "GOLDEN VOICE" OF PROPAGANDA CREATED AN AMERICAN MASS COMMUNICATION CAREER(2005-12-05) Spaulding, Stacy; Beasley, Maureen; Journalism; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)In 1937 Lisa Sergio, "The Golden Voice" of fascist broadcasting from Rome, fled Italy for the United States. Though her mother was American, Sergio was classified as an enemy alien once the United States entered World War II. Yet Sergio became a U.S. citizen in 1944 and built a successful career in radio, working first at NBC and then WQXR in New York City in the days when women's voices were not thought to be appropriate for news or "serious" programming. When she was blacklisted as a communist in the early 1950s, Sergio compensated for the loss of radio employment by becoming principally an author and lecturer in Washington, D.C., until her death in 1989. This dissertation, based on her personal papers, is the first study of Sergio's American mass communication career. It points out the personal, political and social obstacles she faced as a woman in her 52-year career as a commentator on varied aspects of world affairs, religion and feminism. This study includes an examination of the FBI investigations of Sergio and the anti-communist campaigns conducted against her. It concludes that Sergio's success as a public communicator was predicated on both her unusual talents and her ability to transform her public image to reflect ideal American values of womanhood in shifting political climates.