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INDEX Page numbers in italic refer to illustrations. Abrams, Ann Uhry, 277 Adler, Jules, 150 advertising, 4–6, 31–32, 135; and American posters, 120, 136, 345; and Banania campaign, 195–96, 205nn51–52; and British posters, 43–45, 322; effectiveness of, 16–17; and feminine imagery, 281–82, 311n43; and French posters, 177, 195–96, 205n51; and German posters, 112–13, 116 Africa, 67–68; Algeria, 180–83, 188–92, 194, 201; Senegal, 195. See also colonialism; race African Americans, 33; and black newspapers , 212, 213, 215, 220; and civil rights agenda, 207–8, 209, 215, 218–19, 224, 232, 236–37; and community morale, 231; discrimination against, in the military, 208–9, 210, 212, 217, 220–21, 229–31, 232; enlistment rates of, 231–32; film depictions of, 210; and fundraising posters, 229–31; and government poster campaigns, 207, 208–15, 218–23, 225–29, 236–37; and jazz bands, 220; and patriotism , 207–8, 214, 233, 236; perceived “insolence” of, 224–25; and privately produced posters, 27–28, 33, 208, 215–18, 223–26, 228–37; and venereal disease lectures, 226–29. See also race “The Aid of the Colonies to France” (exhibition ), 179 Alexander, Susan, 311n43 Alexandre, Arsène, 158–59 Algeria, 180–83, 189–92, 194, 201. See also colonialism “All Aboard!” (poster), 129 allegorical images: criticism of, 309n17; feminine, 128, 175, 275, 276–82, 306, 308n8, 308n10, 309n13; and injuries, 349. See also imagery All Quiet on the Western Front (Remarque), 88 “Amazon Warrior” imagery, 276–77, 280, 282. See also femininity America: casualty numbers, 340–41; neutrality of, 117–19; “poster revolution” in, 113; and social class, 130. See also American posters American Expeditionary Force (aef), 303, 310n22 American posters, 5, 24–25; and advertising, 120, 136, 345; and allegorical images, 128, 275, 276–82, 306, 308n8, 308n10, 309n13, 309n17, 349; and American Red Cross, 342, 343–50, 357, 364; and anti-evolutionary themes, 68–69; and color, 113, 285–86, 345; and conservation themes, 6–9, 213–14, 221–22, 292–93; design of, 113, 115–16, 285, 345, 347–48; differences of, from German posters, 25–26, 111–17, 118, 120–36; and feminine imagery, 132–33, 134, 273–94, 296, 297–307, 307n2; and Food Administration (usfa), 8–9, 12, 13, 15, 212–15, 218–19, 221–22, 236, 276, 292–97, 298; in foreign languages, 210; and gender roles, 274–75, 283, 293, 300–303, 332–33, 336, 346–47; hand-made, 295–96; and “Hun” imagery, 71, 72–73; and injury depictions, 342–50, 364–65; and masculinity, 131–32, 279, 327–30; number produced, 209–10, 308n3; and philanthropic groups, 229–31, 232; and progressive narratives, 112, 126–28, 130–31, 133; and race issues, 27–28, 207–9, 210–11, 212–37, 279; and recruiting, 71, 72–73, 327–30; and rehabilitation photography, 350–58, 360, 364, 365; and sentimentality, 347–48, 349–50, 352; and slogans, 114; and text, 286–87; thrift stamp posters, 210–11, 225; war bond posters, 12, 13, 114, 129, 210–12, 220–21, 370. See also America American Red Cross, 282–83, 292, 302; posters of the, 342, 343–50, 357, 364 amputees, 356, 362–63. See also injuries antiwar photo albums, 343, 358–63. See also photography “Are you in this?” (poster), 329 388 INDEX art, 21–22, 28; avant-garde, 150–51, 241, 243–44, 248, 249–50, 259, 268n36; decorative arts, 147, 151–55, 157, 162–64, 166–68, 169n11; education, in France, 152–57, 158–59, 163, 167, 169n15; and Exposition Internationale (1925), 166–67; folk art, 3, 28–29, 158, 241–45, 247–49, 259, 262–63, 265; French schoolchildrens’ exhibition of, 147–48, 151–53, 154–56, 158–59, 168n4; Futurism (Russian), 243, 245, 248, 249–51, 259, 262; and gender, 26–27, 145, 159–60; neoprimitivism, 248, 249, 254, 260–61; primitivism, 242–43, 245, 249, 250, 251, 253, 262–63; realism, 248; Russian exhibitions of, 241, 252–53, 261–62 assimilation, 173–74, 192, 194, 201n2. See also colonialism atrocity reports, 67–68, 74–75, 206n59, 287, 316–18, 337n10. See also propaganda Atwell, Ernest T., 213, 221 “At Work Again/Back to the Farm” (poster), 356 Aulich, James, 3, 6, 16, 43, 45, 135 Australian posters, 24–25; and “Hun” imagery , 71–73, 76n5; and recruiting, 71–72 “An Austrian went to Radziwill” (poster), 260 avant-garde art, 150–51; in Russia, 241, 243–45, 248, 249–50, 259, 268n36. See...

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