 there are a variety of technics that propagandists use to depict the enemy and there are real tensions in that propaganda because on the one hand you don't want to minimise the power of the enemy cause ultimately you want to prove that you are beating a formidable foe But equally you don't want to demonise the enemy to the extent dyma dydych chi'n grau cerddefwyr mewn cy fantrach. Mae'r postcards eftanol ychydig ymlaen i gwirionedd a'r wneud arddangod yng Nghymru. Mae wedyn yn rhoi'r contrast o enw o'r Gwyrd yng ng bootsionctor. Mae'n nhw'n chynnwys yn cymryd dalu yn fwy hwnnw. Erindwch ei chrysiau ddwyd â'r cyfroed o rhan, a i'r rhannu i'r ddynno. Rhywbeth yna i'r alid ysgolge, sy'n gweithio'r byddau'r byddau ac'r gweithio'r gweithio, mae'r gweithio'r cyfrifiadau ymddangos i'r cyfrifiadau a'r cyfrifiadau i'r Tomi ac i'r barbarotau. Yn gyfnodd yr oedd ymddangos, ymddangos y Brithys, y ddechrau'r digwyddon o'r gennig o ran ymlaen o'r fawr yma yn Worbydd y Brith. Mae'r ddechrau'r ddechrau yn cyd-dwych i ddysgwm ni'n gweithio'r ddweud o'r ddweud y Ddechrau'r Ddechrau'r ddechrau'r Ddechrau'r Ddechrau'r Ddechrau'r ddweud. Mae'r ddechrau'r ddechrau'r ddweud yn cyd-dwych i ddweud. The Germans also depicted Perphidius Albion, the idea of British hypocrisy, that while the British were condemning the Germans for their suppression of peoples, the British Empire, of course, was suppressing their peoples in Ireland, in India, in Egypt, across the Middle East. So, German propaganda really pointed to their own civilisation, moral superiority, superiority in culture, while pointing to the hypocrisy of British imperialists. Gender was a very important component of First World War propaganda. First of all, the national symbols tended to be gendered. For example, Marianna in France, the spirit of Australia, Britannia, and these really set national patriotic overtones in gendered terms. These postcards were representative of women as symbols of the nation. In this first image, we see a woman representative of Britain offering the soldier a symbol of good luck. It says here, good luck for Tommy. And here again, capturing the spirit of America, we are coming brothers coming, 100,000 strong. This could also translate into representing the suffering of the nation. Here, the old woman represents the pity, the sorrow of Belgium. And here, that German honour has become a shame. There were a number of postcards from the First World War, just depicting women as something to fight for, something idealised the hope embodied in the future. And of course, the converse aspect of that was that if you didn't enlist, you were not worthy of these women, that you would be spurned by your sweetheart, that you didn't live up to the expectations of the nation and you didn't live up to the expectations of your loved one. All of these postcards depict the woman as sweetheart. And here she is the promise of what awaits when the soldier returns home. Here, it's a pipe dream. He's imagining her at home waiting for him. And again, he who serves wins the girl, the VC for Valar Pindon here by the girl. And here, again, Khaki is the style for men. Khaki, to be in the army, attracts the woman. The hope that love could bring to the soldier on the front lines is captured beautifully in this postcard here. Here, the soldier is happy when his sweetheart loves him, but sad if she does not. There are a number of tensions in propaganda depicting women in the first part of war. First of all, there's the tension between the propaganda that depicted women as vulnerable in need of protection, but also as active participants in the war, as combatants in some of the Serbian propaganda, for example. And there's also one of the most profound tensions, of course, comes out in the role of the munitions worker. Because on the one hand, these women are manufacturing the weapons, the bullets that the men are going to fire at other men. These are the weapons of destruction and death. But on the other hand, they're also the mothers of the next generation. So they're simultaneously responsible for life and death in the propaganda of the First World War. Cinema in the First World War was a noisy affair. It was full of participation, noise, people speaking, agreeing, disagreeing, booing, shouting. So it wasn't just something to sit back and consume. This was something to be active with. This was something that audiences could participate with. And therefore, gradually, the authorities realised that it could be a very powerful means of communicating with mass audiences. The Battle of the Somme film made by Malins and McDow in 1916 was an important film for British propaganda. It was the first film that really showed what war was like on the front lines. And for this reason, it was hugely popular among British audiences. Millions of people flocked to see it. And that's because there was a certain humanity in this film. You could see in the faces of the soldiers the pain, the anguish, the difficulties of the struggle at the front lines. This was also a highly controversial film. The Dean of Durham, for example, wrote to The Times to question why people were going to see the film. Were spectators simply reveling in the spectacle of war? But others challenged that and said, well, what matters about this film is that it gives a human face to what our boys are suffering on the front lines. There were a number of different types of recruitment propaganda that were used by official sources to try to help with enlistment. The first really concentrated on protecting your family, protecting what was dear to you. So it was very personal in nature. And the others took moral high ground. So look at the atrocities in Belgium, look what we have to defend. It's our moral duty to go and help the people of Belgium and France. It also focused on your duty to one another, to the community, to the country. That if others were going, why were you not going? And you can see the image of the soldier here directly fixes the gaze of the viewer. Note the language here. Follow me. Your country needs you. This type of personal language was a very effective propaganda device. Propagandists found that if language was used in the abstract, people tended to think that it was addressed to someone else. Well, there is no mistake here. You are being induced to follow this soldier, follow me, and your country needs you. This poster suggests that there's still time to enlist. There's still a place in the line for you. This is actually important when we think about placing the viewer within the poster. Again, this is a form of direct address. You, you. There is many others here, many others that have gone before you. He who doesn't fill this place will be regarded as a social outsider. The impact of propaganda is extremely difficult to work out. The general consensus is that propaganda only serves to sharpen or crystallise views already present. And in that sense, the propaganda of Britain, of the Allies in the First World War was successful in that it took pre-existing beliefs of the Germans, of the developing power relations in Europe and sharpened them. Propaganda set the war in a comprehensive moral explanatory framework. But quite how far individual aspects of propaganda succeeded in completely turning people's views is much more contentious, much more debatable and much more difficult for historians to say with any real certainty.