![]() ![]() It was one thing to produce material about the war, but many of them also wanted to use their skills to actually help the Allies win. A few comics like Bill Mauldin’s Willie and Joe were created specifically because of the war and offered readers a unique glimpse into the daily lives of American GIs.įor many wartime writers, actors, and artists, these contributions weren’t enough. Longtime favorite characters like Superman, Dick Tracy, Little Orphan Annie, and Mickey Mouse all dealt with various aspects of the war effort, from raising victory gardens to dealing with rationing to fighting the Axis powers on the front. Even newspaper comic strips picked up elements of the war in their plots. ![]() Others, like Walter Kent and Nat Burton’s “The White Cliffs of Dover,” were slower and more solemn, touching on both the seriousness of the war and the hope that peace would soon return. Some songs were upbeat, witty, and fun to dance to, like “Boogie Woogie Bugle Boy of Company B” by the Andrews Sisters. Song lyrics often referred to the conflict, highlighting the ups and downs of both the battlefield and the Home Front. Movies like Saboteur, Sahara, and Casablanca captured the wartime drama faced by servicemembers and civilians alike. “The dangers of Nazism must be removed for all time.”Īfter Pearl Harbor, war themes exploded into virtually every artistic medium and form of entertainment. Robinson told one interviewer after the film’s premiere. “I feel I am serving my country,” lead actor Edward G. Others praised the movie as patriotic because it helped alert Americans to what was considered a very real danger. Some people worried that the movie was too political and risked damaging the fragile neutrality of the United States in Europe. In 1939, for example, Warner Brothers released the movie Confessions of a Nazi Spy based on actual FBI investigations into German espionage in the United States. These stories reflected the growing anxiety in America about the war and how it might affect their lives. Authors John Steinbeck and Ernest Hemingway and playwright Maxwell Anderson each wrote fictional portrayals of wartorn Europe, while Hollywood turned out movies about risky trips across the submarine-infested Atlantic, daring attempts to rescue loved ones from Nazi concentration camps, and nefarious spy rings lurking right under America’s nose. The prospect of another world war began creeping into the American imagination even before the attack on Pearl Harbor. ![]()
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