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Titlebook: War and Theatrical Innovation; Victor Emeljanow Book 2017 The Editor(s) (if applicable) and The Author(s) 2017 Political propaganda.Milita

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Patronizing the National Stage: Subsidies and Control in Wartime Britainicy but a major change in the perception of arts in war-time. It was also the inception of cultural policy in Britain—a term which did not exist before. The Arts Council of Great Britain was a direct outcome of this development as was the culture portfolio within the UK government. Given that offici
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Theatrical Propaganda and an Imagined West During the Korean WarCivil War (1951–1953). The Korean word ‘. means ‘a New Theatre Society’. It was the only theatre company to produce the work in times of the Korean War. For this, I will argue how this theatre company is positioned in the context of Korean theatre history particularly in the 1950s. Then I will explo
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‘Make Do and Mend’: Civilian and Military Audiences in Australian Popular Entertainment During the Pural, caused by the social conditions of universal national military and labour conscription. During the Pacific War of 1942–1945 mainland Australia became an American supply and training base. Although different urban and rural regions experienced it in specific ways, the wartime imaginary put prev
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The Biopolitics of ISIS’ Iconoclastic Propagandapolitical tropes, within ISIS’ propaganda, lie on the unstable threshold between . and . and the iconoclastic use of both. In agreement with Agamben’s claim that . is always caught in a state of indistinction, such an indistinction could easily be envisioned as residing in-between what performance s
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Manipulating Beijing Opera: Criminality and Prosperity During Civil War in China C. 1930est that involved nations, classes, warlords and political parties against the overall background of civil wars in China. It argues that the Shanghai Green Gang, a criminal organization, played a significant role in .’s stable development and commercial success under unique circumstances. Because of
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