Existing scholarship on the emergence of Franklin D. Roosevelt's new deal slogan is inconsistent and incomplete. This article constructs a revised history of the phrase by scrutinizing the contradictory stories of its origin. The investigation initially establishes the historical context by examining the phrase's trajectory prior to Roosevelt. It then considers the various accounts of those who have been credited with coining the slogan on his behalf. Finally, the article recovers the indispensable contribution of Charles R. Macauley, who has become the forgotten man in debates over new deal's murky beginnings.

This essay explores the puzzling appeal of Hitler Lives specialIntscript for postwar American audiences. The Warner Bros. documentary was lauded domestically despite its thorough vilification of not just the defeated Nazi leaders but also the German peo- ple themselves. In doing so, director Don Siegel forwarded what I term a doppelganger metaphor-the -the decades-old conceit that Germany suffered from a malignant duality, often discussed at the time as a kind of split personality. Drawing on Carl Jung's psycho- logical conceptualization of the shadow within the human psyche, the analysis illuminates the understudied featurette's compelling approach to its war-weary viewers.

Drawing upon media framing theory and the concept of cognitive scripts, this article provides a new interpretation of the context in which the famous World War II photograph ‘Raising the Flag on Iwo Jima’ appeared. This interpretation is based primarily on an examination of American newspaper and newsreel coverage from the Pacific island battles prior to Iwo Jima. The coverage – especially the pictorial coverage – often followed a three-step sequence that showed US forces proceeding from a landing to a series of skirmishes, then culminating with a flag-raising image. This created a predictable cognitive script. That script, combined with other framing devices found in the news coverage (such as metaphors and catchphrases), conveyed the misleading message that the Allies’ final victory over Japan was imminent in early 1945. The Iwo Jima photo drove home that message more emphatically than anything else. This circumstance had profound implications for government policy at the time and, in retrospect, it illustrates the potency of media framing – particularly in times of crisis or war.

Previous articleNext article No AccessFamous but Unknown: An Introduction to J. Howard MillerJames J. KimbleJames J. KimbleSeton Hall University, South Orange, NJ, USA Search for more articles by this author PDFPDF PLUSFull Text Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Source Volume 41, Number 1Fall 2021 Sponsored by the Bard Graduate Center, New York Article DOIhttps://doi.org/10.1086/718490 Views: 53Total views on this site © 2021 Bard Graduate Center. All rights reserved.PDF download Crossref reports no articles citing this article.

The Journal of Popular CultureVolume 52, Issue 6 p. 1557-1559 Book Review Feminist Afterlives: Assemblage Memory in Activist Times. Red Chidgey. Palgrave Macmillan, 2018. 215 pp. $64.99 eBook, $84.99 cloth. James J. Kimble, Corresponding Author James J. Kimble james.kimble@shu.edu Seton Hall UniversitySearch for more papers by this author James J. Kimble, Corresponding Author James J. Kimble james.kimble@shu.edu Seton Hall UniversitySearch for more papers by this author First published: 02 January 2020 https://doi.org/10.1111/jpcu.12856Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinkedInRedditWechat No abstract is available for this article. Volume52, Issue6Special Issue: Exploring the Popular Culture and Tourism Place making NexusDecember 2019Pages 1557-1559 RelatedInformation

This article presents a study of the rhetorical dynamics of patriarchal advertising in the United States during World War II. The analysis scrutinizes a series of War Advertising Council (WAC) ads that targeted a wide swath of women on the home front, doing so through the depiction of negative and positive role models. The essay concludes that in these sorts of appeals WAC tacitly relied on rhetorical norms, which acted as a gendered means of patriarchal control in the face of the increased wartime autonomy that was enjoyed by many women during the war years.

This article draws on the concepts of narrative interactivity and closure to investigate three World War II-era print media characters. The analysis details how Al Parker's Mary & Jane and Norman Rockwell's Willie Gillis developed a perceived authenticity that invited fans to envision the propaganda drawings as having lives beyond their artistic origins. The essay concludes that the narrative arcs of these characters prefigured the imagined relationships that subsequent generations developed with televised characters.

Presidential Studies QuarterlyVolume 46, Issue 1 p. 226-227 BOOK REVIEW The Good Neighbor: Franklin D. Roosevelt and the Rhetoric of American Power. By Mary E. Stuckey. East Lansing: Michigan State University Press, 2013. 300 pp. James J. Kimble, James J. Kimble Seton Hall UniversitySearch for more papers by this author James J. Kimble, James J. Kimble Seton Hall UniversitySearch for more papers by this author First published: 19 February 2016 https://doi.org/10.1111/psq.12267Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinkedInRedditWechat No abstract is available for this article. Volume46, Issue1March 2016Pages 226-227 RelatedInformation

This essay investigates the authenticity of Geraldine Hoff Doyle’s widely accepted status as the model for the World War II– era “We Can Do It!” poster. After considering the rhetorical nature of the so-called woozle effect, the analysis endeavors to counter this particular woozle by plotting a reverse narrative. Taking the form of a quest that moves backward through a metaphorical forest of visual rhetoric, the essay initially traces the sources of Doyle’s tale into the recent past and, subsequently, into the original visual context. At length, it debunks Doyle’s claim while identifying Naomi Parker as a previously unknown figure in the controversy surrounding the poster.

This essay argues against the prevailing historical conception that George Strock's graphic photograph of three lifeless Marines-published by Life magazine on September 20, 1943-was the definitive point when domestic U.S. propaganda began to portray increasingly grisly images of dead American soldiers. After considering how the visual culture of the home front made the photo's publication a dubious prospect for the government, I examine a series of predecessor images that arguably helped construct a rhetorical space in which such graphic depictions could gradually gain public acceptance and that, ultimately, ushered in a transformation of the home front's visual culture.

This article examines the rhetorical failure and eventual resurrection of Franklin D. Roosevelt's (FDR's) Four Freedoms and the implications of this transformation for conceptualizing the rhetorical presidency. By charting the phrase's initial flop and the related troubles of the administration's official Four Freedoms pamphlet, the essay argues that FDR's ideal was restrained by the government's reliance on a diegetic approach to propaganda. The appearance of Norman Rockwell's Four Freedoms series in , in contrast, embraced a mimetic approach. I conclude that Rockwell's paintings and their attendant publicity blitz dramatized and personalized the president's Four Freedoms, fostering a surge of identification on the home front and ultimately launching the ideal on its ascendant course into rhetorical history.