Maurice Horn
Philadelphia: Chelsea House, 1999
DESCRIPTION: 945 p., ill. (some col.)
LCC: NC1325.W67
DEWEY: 741.503
ISBN: 0791048551

An encyclopedia of cartoonists, animators, producers, as well as individual cartoons. In addition, articles on the history and art of cartooning are provided. The scope of the work includes political, animated, and printed cartoons. International coverage includes cartooning from 45 countries; however the emphasis is on U.S. productions. The 22 authors of the individual entries conducted research through examination of the original source material and interviews with cartoonists and producers in the field.

http://memory.loc.gov/ammem/vfwhtml/vfwhome.html
Library of Congress
Washington: Library of Congress
1998–

Small collection of 38 images; includes portraits of individuals important to women's suffrage, photographs of suffrage parades, picketing suffragists, an antisuffrage display, and cartoons commenting on the movement. Search by keyword or browse name and subject index. Part of the Library of Congress American Memory project.

Hal Erickson
Jefferson, N.C.: McFarland, 2005
DESCRIPTION: 2 v., ix, 1038 p., ill.
LCC: PN1992.8.A59E74
DEWEY: 791.453
ISBN: 0786420995

Title listings for more than 1,000 network and cable series broadcast in the United States with production details, credits, and social as well as artistic commentary. Extensive indexing by people, organizations, and techniques; unfortunately a character index is not included. Reviewers have identified some errors; however, errors are not of significant magnitude to negate the value of the bibliographic and critical content.

Harris M. Lentz
Jefferson, N.C.: McFarland, 1996–
DESCRIPTION: ports.
LCC: PN1583.O25
DEWEY: 790.20922B
ISSN: 1087-9617

Annual series with international scope and broad definition of performing arts (for example, sports figures are included.) Entries review career accomplishments, often with photograph, and list obituary articles in major publications. Convenient packaging of career information on a wide variety of performers, many minor and less likely to be found elsewhere. Lack of indexing is a limitation. Successor to defunct Variety obituaries series.

http://www.cartoonresearch.com/
Jerry Beck
[Hollywood, Calif.]: Jerry Beck
[?]
LCC: NC1765
DEWEY: 070.5797

One section of this blog is the "Animated movie guide," which offers a chronological list of U.S. feature-length animation released since 1937. Even new productions not yet released are noted in the "On The radar" section. Each film is briefly annotated with key credits, premise statement, and, in some cases, notes about the production's history. In addition to the reference value of this film catalog, users of the site may search Beck's own reviews of films and commentary on animation related news. Beck is a widely respected expert in this field, and researchers will find searches of his blog archives valuable.

http://staging.lincolnandthecivilwar.com/welcome.asp

HarpWeek LLP

Alexandria, Va.: Alexander Street Press
2007

Indexes and contains full text for 49 periodicals representing Union, Confederate, Abolitionist, and British viewpoints. Search options include the full text, more than 15 document types (advertisement, fiction, government announcement, publisher's notice), subjects, and year. Includes illustrations, cartoons, and maps.

http://www.toonopedia.com/
Donald D. Markstein
[Phoenix, Ariz.?]: Donald D. Markstein
1999–

Self-published but widely recognized Web authority offers alphabetical list of approximately 2,000 cartoons, comics, and annimation in print, film, and television. An illustration, characteristic of the cartoon, is provided along with production history and Markstein's evaluation of work's contribution to the field. Entries for companies producing cartoons include similar history and criticism. A growing section by personal name is available. As only a partial bibliography of sources is cited, most serious research will need to be independently verified.

Maurice Charney
Westport, Conn.: Praeger, 2005
DESCRIPTION: 2 v.
ISBN: 0313327068

Two-volume collection of scholarly essays on wide variety of topics, such as American political cartoons and comics, queer comedy, stand-up comedy, and television sitcoms. Index and glossary of terms.

http://www.bcdb.com/
Dave Koch, Nobuo Mochizuki
Salt Lake City, Utah: Dave Koch
1998–
LCC: PN1992.8.A59

The largest single cartoon information source includes entries for more than 70,000 cartoons from film and television. The primary organization of the site is by studio with subdivisions by media (shorts, feature films, television, and direct-to-video) and then by cartoon title. Key word and field searching is also possible. Entries provide a synopsis, cast and crew lists, production notes, and user reviews. Fewer graphics than other animation resources.

Penn owns 26 volumes total.

used for fun and games

This article goes into the history of the cartoon and how it was developed. The author argues that cartoons can be used to show historians the attitudes of the societies that produced them and he explains that there are two types of cartoons: joke cartoons and cartoons of opinion. He chooses to focus on cartoons of opinion, which are defined to be “visual means of communicating opinions and attitudes or of ‘summing up’ situations.” They deal with “domestic politics, social themes, and foreign affairs.” Kemnitz does discuss a few joke cartoons however, “such as William Mauldin’s great World War II cartoon.” Regardless of type, the author claims that cartoons are more effective than other mediums in communicating because they convey messages “quickly and pungently.” He also acknowledges that the “cartoon too frequently has been employed as a propaganda tool.” He believes that cartoons were used in the First World War “to whip up hatred and thereby sustain the civilian enthusiasm which made the sacrifices of total war tolerable.”
    This article is important because it defines cartoons, which my thesis discusses. It also explains how propaganda was first used in cartoons, which is important because it is likely that cartoonists at the Disney Company watched these cartoons and used them as a reference when making cartoons for the Second World War. Additionally, it says that cartoons are the most effective form of propaganda, so the second part of my thesis is addressed. According to Nelson, it is probable that Disney cartoons had a significant impact on public opinion in America during World War II.

The author claims that World War I was the “first total war” and the use of propaganda was an important aspect. He says that the First World War was “waged not only against the enemy’s armies, but also against the civilian population” because it was also a war of ideologies. He discusses how censorship suppressed information and how propaganda became influential. According to the article, German leaders felt that “only an effective propaganda campaign could re-establish confidence” in Germany. The author goes on to explain that cartoonists were “bound by the restrictions of military censorship and obliged to observe the propaganda guidelines laid down by the press bureaus.” The role of cartoonists changed significantly, as “before the war they were social critics,” but after the war broke out they needed to “behave as good patriots.” The author describes the situation in Germany, but states that many countries experienced “similar developments.” He claims that cartoons “took on a new function: its task was to mobilize the population both morally and intellectually for the war, explain setbacks, confirm belief in the superiority of the fatherland and proclaim the hope of final victory.”   
    This article is important because it shows how propaganda was used during World War I. Obviously, this lead to new developments and influenced the way propaganda was utilized for World War II. It also explains the role that cartoonists had during the Second World War and how cartoons were transformed into propaganda carriers. Though the article focuses on Germany, the author claims that many nations used propaganda similarly, so the article is still applicable to my thesis, which investigates propaganda in the United States.

This book analyzes Walt Disney’s character and gives a long and detailed history of the Disney Company. It investigates the birth of Mickey Mouse and the majority of Disney’s films. There is a section dedicated to discussing Disney’s influence during the Second World War. It starts saying that “Disney received a call from the Navy, offering him a contract to produced a series of films,” and goes on to talk about several of Disney’s war films like Der Fuhrer’s Face.
    Schickel’s book gives a detailed account of the Disney Company. Looking at the way Walt Disney’s Company functioned is essential because it allows one to see how and why Disney cartoons were created. Though Richard Shale, the author of another source in this bibliography, provides analysis of Disney’s cartoons in his book, this source also examines some of Disney’s films. This is important because it is necessary to gain multiple viewpoints on each aspect of my thesis.

This book gives a timeline of the Disney Studio beginning in 1901, a historical context of how Walt Disney created his company, and an explanation of how the Disney Company was able to rise. It compares the Disney Company to other studios and explains how Disney became involved in making films for the government. It mentions that “Disney cartoons took on wartime themes” in 1942 and that there were “a number of films, produced for the government which were to meant to entertain and educate,” such as Food Will Win the War and Out of the Frying Pan into the Firing Line. Also, it discusses the impact The New Spirit had on Americans. “Donald Duck was chosen to star in the film, and a vast percentage of Americans testified that it encouraged them to pay their taxes promptly.” This helped the American government because the film was made “to try to persuade Americans to pay their income taxes on time as the money was so necessary for the war effort.”
    This source addresses both parts of my thesis. First, it provides a historical context for the Disney Company from its beginning to the present and discusses how Disney cartoons were made. Yet, it is also valuable to the second part of my thesis because it provides an actual example of a Disney propaganda cartoon affecting the way Americans acted.

This website provides an index, in chronological order of release, of what looks like all of the Silly Symphonies shorts ever produced. Each entry includes the characters featured, the names of the director, producer, animator, and author, the run time of the short, the release date, and, for many, links to watch the original cartoons. Many also have summaries and information about the cartoon's production, often including original film posters and other pertinent images.

This resource would be key for watching each of the Silly Symphonies, especially Three Little Pigs but also those before and after it.  Watching the films in order also helps develop a sense of the trends in style and other aspects, such as use of color, sound, animation quality, and narrative and cahracter development.  With reference to Three Little Pigs, the site includes key information such as the fact that the film won the Academy Award for Best Short Subject in 1934, was animated by Fred Moore, Norm Ferguson, Art Babbitt, Dick Lundy, and Norman King, and was released on May 27, 1933.

Steven Watts argues a positive view of Disney’s importance in American history, although acknowledges the difficulty of understanding his impact on modern American culture. Many critics believe that Disney’s commercial success and popularity mean that his films cannot have cultural significance. In addition, the strong contradictory opinions of Disney make it difficult to simply look at his impact in order to gain understanding rather than to criticize or admire his work. Watts looks at Walt Disney as an artist of sentimental modernist films and as a promoter of American ideals, qualities that are evident in Disney’s rendering of Snow White and the Seven Dwarfs.

America’s original perception of Disney was of a serious artist, inspired by both modernist art and sentimental realism. These two often contradictory influences show in his work. He blurred the line of reality and imagination by creating worlds where animals could talk, plants were animated, and household objects felt emotion. In Snow White, the forest through which the banished girl flees has trees which try to grab and trip her, but nearby, kind animals prepare to comfort her. In addition, he incorporated dreams often in his work. Walt Disney encouraged naturalism to a degree unheard of in animation and cartoons. He insisted that his animators take evening art classes and he invented the multiplane camera, which created the illusion of depth in Snow White and his other animated feature films.

Disney also used his films to imbue hope and to promote certain virtues to his audience during the depression. His films in the 1930’s remind Americans that they will overcome the hard times through vigor and virtue. Two Disney films in the ‘30s stand out in particular for encouraging the persistence and courage of underdogs. Three Little Pigs (1933) features the song “Who’s Afraid of the Big Bad Wolf,” while the dwarves in Snow White (1937) merrily sing “Heigh Ho, It’s Off to Work We Go.” Snow White, too, exhibits a hard-working demeanor both in her house and the dwarves’. Disney claims that “wisdom and courage is enough to defeat big, bad wolves of every description, and send them slinking away.” Through his films, he encouraged self-reliance, a quality that he had exhibited since his youth.

Encyclopedia of Disney Animated Shorts entry on The Three Little Pigs

In Chapter 1, entitled “Popular Culture,” the author addresses Disney’s populist tendencies, providing examples of Disney’s desire to bring high art to the people and provide messages of reassurance. While looking later in the timeline at works like Fantasia, he mentions the Silly Symphonies as originally being meant to illustrate both classical and jazz music, including the fact that the animators and writers were encouraged to experiment with the medium, aided by the absence of constraints like recurring characters. In addition, Three Little Pigs is cited as a prime example of Disney’s inclusion of his beliefs in battling urban industrialism with the ideals of agrarian and rural values. Looking deeper, the message of this short is seen as a reference to biblical tales like David and Goliath, and is seen as a possible mobilizing force in American society that may have catalyzed demands for solutions to the Depression such as the New Deal.

This source is interesting because it provides direct evidence for what other articles and writings, and my own viewings of Three Little Pigs and other Silly Symphonies, have only suggested: that the animated series began as a field for experimentation and discovery on the part of Disney Studios. It also provides slightly different readings of the moral undertones of the film, claiming that it might have been not only individually inspiring but may have contributed to or more directly affected societal change.

This book shows how Mickey Mouse’s character affected America. Disney himself is said to have “perceived Mickey as a powerful and important symbol in American culture.” He had previously been used to help “people escape from their Depression anxieties.” This is one reason why Disney films were popular, but this source investigates why Disney cartoons were so well liked and finds that “Disney combined the myth-making medium of film with his perception of American popular taste.” The author claims “Mickey’s creation of a fantasy world is an accurate reflection of the cultural mood in 1944. After three years of war, Americans were tired of propaganda, and beyond ‘those glorious days of 1942, when audiences cheered the American flag on the screen.’” Uelmen goes on to explain that the Disney studio offered an escape to the war by providing audiences with a fantasy world. Disney “played an important role in projecting images of wartime unity.” Unity was defined as the civilian war effort and “how Mickey perceives cultural difference in America is a reflection of both the wartime consolidation of public opinion and Disney’s unique way of seeing the culture.” For example, Minnie says that in San Francisco the sun sets in the perfect place, but in Chinatown she says that she cannot read any of the signs in stores. Disney may “have been making a subtle reference to the power of Western resources to defeat the ‘Asian monster.’
    This source is very useful as it answers both parts of my thesis suggesting that Mickey Mouse’s character allowed Disney propaganda films to be successful. Uelmen discusses the background of Mickey Mouse and shows that his character was a precedent for why Disney cartoons were effective. Mickey’s character was used to help people deal with the Depression, so Americans were able to bond with his character. Therefore, they would be more inclined to trust and agree with the ideas presented in Disney cartoons later on even if the beliefs were pro-war.

This newspaper article commends Disney for not continuing in the direction of Steamboat Willie, but instead “fleshing out” individual characters., giving them “soul” and “color.” The author cites Three Little Pigs as a major turning point for Disney, especially in that it was the first Disney film to have a real plot. The relation of each pig to his house and its construction differentiates and enriches each character. The article includes a quote from Chuck Jones on the subject of Three Little Pigs which comments on character differentiation, saying that in the past, different characters looked different, but in this film, similar-looking characters were differentiated using elements other than visuals alone. The quote also clearly states Jones’ belief that Three Little Pigs was a turning point.

The article mentions music, color, and style as contributing to the success of the film, and states that these factors and the short’s popularity led Disney to another plane. His animated work was, as a direct result of this film, treated seriously, as art, and this can possibly be seen as the beginning of the “Disney empire.” The production of subsequent films, shorts and features, served to codify the Disney style, epitomized by the first Disney feature, Snow White and the Seven Dwarfs.

This article provides a primary source: animator Chuck Jones states that Three Little Pigs was a turning point. Also helpful is the discussion of why the short was so important, with a focus on characterization and plot. An interesting view expressed here but not elsewhere is that not only did Three Little Pigs serve as an internal bridge from experimental to feature-length fairy tale, but it also launched Disney’s fame externally in the eyes of critics and film journals, and in this way contributed to Disney’s future dominance.

This article is a review and discussion of four newly released double-disc sets in the “Walt Disney Treasures” series.  The discs contain Silly Symphonies, and the author discusses how Disney used technology to gain a competitive edge over the Fleischers.  Disney took more care in music and sound editing and synching, using a technique which enabled animators to listen to already-recorded music and effects and animate in synch with these soundtracks, while the Fleischers’ sound seems more like improvisation.  And Disney signed an exclusive contract, giving him the only rights to use a new three-color Technicolor process that gave his films a “visual pop” unlike any others available. 

This article discusses the technical care and expertise put into Disney short films.  The article argues that the color, shading, draftsmanship, depth techniques, and expressivity of movement eventually used in Snow White and the Seven Dwarfs were first used in Silly Symphonies like The Goddess of Spring and Three Blind Mouseketeers.  The author also discusses the differences between Walt Disney’s television persona and behind-the scenes “persistent dissatisfaction,” claiming that whichever one considers, Disney’s efforts edged the country towards “greater technological feats.”

This article, while it does not mention Three Little Pigs explicitly, helps fill in some information about how Disney managed to employ technology to his favor, and the details of some of that technology, especially color and sound.  It also shows how the Silly Symphonies served in some cases as proving grounds for new techniques that eventually emerged in full-length animated features, and echoes an often-expressed belief in Walt Disney’s quest for perfection through bigger and better technology. 

Kemnitz, Thomas M. "The Cartoon as a Historical Source." Journal of Interdisciplinary History Vol. 4, No. 1 (1973): 81-93.

Cartoons often capture the seriously formed judgment, usually representative of the prevailing national sentiment, of a prominent idea, situation, or event, though in humorous terms. The key of these sources is how the current national opinion of that time differs (or not) from the current opinion of the viewer. The power of cartoons lies in how it conveys its message quickly and pungently. The rest of the article describes the six specific interrelated areas for investigation, which include artists and method by which cartoon reaches people, but this is less relevant to my thesis.

This is a guiding framework for this paper. It is crucial in watching the propagandistic animation to consider how the expressed views reflected public opinion and how the views tried to shape public opinion. It suggests that there are two types of cartoons: the joke cartoon and the cartoon of opinion. The propaganda falls under the second type, which are cartoons that try to advance a particular agenda of sentiment, as opposed to the joke cartoon, which tries to capture a sentiment in one moment. In particular, I tried to look at the medium, in this case film, to transmit the opinion to the target audience, the soldiers. In Spies (1943, Private Snafu series), there are the buck-teeth Japanese spies and objectification of the German female spy, which is funny as an animation, but underscores the point that no one is to be trusted. I propose that the blend of joke cartoon (such as the objectification of the Nazi woman's breasts as a transmitter) and the cartoon of opinion ( the point that everyone can be a spy) associates a serious message with humor and makes acceptance easier, leading to desensitization.

Shull, Michael S. and David E. Wilt. Doing Their Bit: Wartime American Animated Short Films 1939-1945. Jefferson, NC: McFarland & Company, Inc., 2004.

Chapter 8 of Shull and Wilt's book describes the history of Private Snafu and his role as an educational tool. GIs could relate to Snafu, yet did not want to be him. Private Snafu was goofy-looking, physically unimposing, ignorant, and disgruntled young soldier: "a diametrical opposite of the handsome soldier portrayed in Hollywood films." Private Snafu proved to be the transition between the sanitized training videos and the harsh realities of war.

Wartime US military videos often downplayed the gory traumatic injuries and death of war. The Private Snafu series, being an animation, could portray GI death and ease soldiers into reality that disobedience and noncompliance would lead to death. After all, animations lived in the borders of fantasy and reality, so death, capture, or pain were unreal, even comical to the viewer. Such has to be the outlet for the anxieties the soldiers felt. It had to allow soldiers to desensitize them from the senseless destruction around them. In many ways, the transformation of Private Snafu mirrors the transformation of every GI. In the beginning (the first few episodes), Private Snafu is the complete idiot who disregards authority, but by the end, becomes a quirky member of the unit that gets the job done.

This article focuses on the animated depictions of the First World War, and examines the changes in these depictions of the conflict with time. Before America joined, the cartoons showed the conflict as a setting for adventure and larger-than-life characters. After the US joined, cartoons attempted to present sanitized views of the war, often going without references to actual events at all, or instead acted as documentaries aimed at adult audiences. It was after the war, however, when animation provided the perfect medium for "recasting" the events of the war in imaginative ways which stretched reality. These changes from a real to fantastical and magical view of the world are what fueled the view, and eventual marketing, of cartoons as entertainment specifically for children.

Many of Warner Brothers' series launched around the time of the Silly Symphonies, possibly to compete with the series' success, were among the realistic depictions of the war. They included Felix Turns the Tide and Bosko the Doughboy. In the former, grim battle scenes and relatively graphic imagery conveyed the "damage, confusion, and carnage" of the conflict. In the latter, while Bosko has a relatively elastic body, this fantasy element cannot save him from injury, as compared to other, earlier cartoons that show war as "consequence-free.

This article could be useful in my thesis in supporting the view of the Silly Symphonies as moral, simple, and dream-like, as compared to the brashness of Warner Brothers animated shorts where the humor lay in obviousness and reality. It also provides extensive fuel for comparison of the Disney works of the time to those of Warner Brothers and other studios, and puts all of these films in the context of wartime media, examining the differing morals and tones with which these underlying messages were presented.

This journal article deals mainly with the series of films entitled Shakespeare: The Animated Tales, and aims to address the cliche that when portions of the plays are removed in order to make the films, the works are simplified or "dumbed down" to the point where the quality is almost completely sacrificed. It suggests that a better way to analyze the films is to examine them as films, and not as literature, and therefore acknowledge the omissions but still treat the work as a whole. In addition, this reading sees these cuts as necessary to enhance the cinematographic needs of the medium, and the choice of animation brings these valuable and culturally significant stories to a new generation.

The article goes on to cite Walter Benjamin and Sergei Eisenstein's early writings that see animation as significant and important, and claim that it serves as the experimentation necessary for the progress of cinema as a whole. A primary example of Disney's experimentation with anti-realism, according to the article, is the "Silly Symphonies" series of short animated films. The author sees experimentation in various aspects of the film, including "self-reflexivity, technical innovativeness, violation of natural spatial-temporal rules, and violence," and cites other writings which claim that part of the influence of the films lay in their ambiguous target audiences. The films were "not just children's stuff, and certainly not sugar-sweet. Whether they were for adults or children was indeterminate." It was the animated feature Snow White and the Seven Dwarfs that ended this era of experimentation for Disney, and proved that cartoons could be respectable, even "antiseptic." While Warner Brothers continued to be edgy, Disney was now mainstream and accepted by the Production Code.

This article helps me prove the foundation of my thesis, that the Silly Symphonies began as experimental works that allowed Disney and its animators to try new technologies and new forms. It also helps me show that this experimentation led directly to the development of elements, like narrative, character differentiation, and others, whose perfection made the production of an animated feature-length film possible.

This is the original Three Little Pigs Silly Symphony; its duration is 8:23. It features the Three Little Pigs and the Big Bad Wolf, as well as the famous song "Who's Afraid of the Big Bad Wolf?" According to a few sources, the heavily Jewish image and accent of the Wolf knocking on the brick house's door was removed for the DVD release, but it seems that this revised voice was applied to the YouTube video, even though the visual was not adjusted.

Having easy, unlimited access to the film which is the subject of my research is essential, not only for being able to form a thesis but for being able to interpret and synthesize the various resources I'll find on the subject. I can draw direct evidence as to the narrative structure, characterization, and use of color, music, and sound, and hear the song "Who's Afraid of the Big Bad Wolf?" whenever I please.

This article focuses on the animated depictions of the First World War, and examines the changes in these depictions of the conflict with time. Before America joined, the cartoons showed the conflict as a setting for adventure and larger-than-life characters. After the US joined, cartoons attempted to present sanitized views of the war, often going without references to actual events at all, or instead acted as documentaries aimed at adult audiences. It was after the war, however, when animation provided the perfect medium for "recasting" the events of the war in imaginative ways which stretched reality. These changes from a real to fantastical and magical view of the world are what fueled the view, and eventual marketing, of cartoons as entertainment specifically for children.

Many of Warner Brothers' series launched around the time of the Silly Symphonies, possibly to compete with the series' success, were among the realistic depictions of the war. They included Felix Turns the Tide and Bosko the Doughboy. In the former, grim battle scenes and relatively graphic imagery conveyed the "damage, confusion, and carnage" of the conflict. In the latter, while Bosko has a relatively elastic body, this fantasy element cannot save him from injury, as compared to other, earlier cartoons that show war as "consequence-free.

This article could be useful in my thesis in supporting the view of the Silly Symphonies as moral, simple, and dream-like, as compared to the brashness of Warner Brothers animated shorts where the humor lay in obviousness and reality. It also provides extensive fuel for comparison of the Disney works of the time to those of Warner Brothers and other studios, and puts all of these films in the context of wartime media, examining the differing morals and tones with which these underlying messages were presented.

Kemnitz, Thomas M. "The Cartoon as a Historical Source." Journal of Interdisciplinary History Vol. 4, No. 1 (1973): 81-93.

Cartoons often capture the seriously formed judgment, usually representative of the prevailing national sentiment, of a prominent idea, situation, or event, though in humorous terms. The key of these sources is how the current national opinion of that time differs (or not) from the current opinion of the viewer. The power of cartoons lies in how it conveys its message quickly and pungently. The rest of the article describes the six specific interrelated areas for investigation, which include artists and method by which cartoon reaches people, but this is less relevant to my thesis.

This is a guiding framework for this paper. It is crucial in watching the propagandistic animation to consider how the expressed views reflected public opinion and how the views tried to shape public opinion. It suggests that there are two types of cartoons: the joke cartoon and the cartoon of opinion. The propaganda falls under the second type, which are cartoons that try to advance a particular agenda of sentiment, as opposed to the joke cartoon, which tries to capture a sentiment in one moment. In particular, I tried to look at the medium, in this case film, to transmit the opinion to the target audience, the soldiers. In Spies (1943, Private Snafu series), there are the buck-teeth Japanese spies and objectification of the German female spy, which is funny as an animation, but underscores the point that no one is to be trusted. I propose that the blend of joke cartoon (such as the objectification of the Nazi woman's breasts as a transmitter) and the cartoon of opinion ( the point that everyone can be a spy) associates a serious message with humor and makes acceptance easier, leading to desensitization.

The Audio/Video Archive of the American Presidency Project holds speeches and remarks (radio and otherwise) by Presidents Hoover, Roosevelt, Truman, Eisenhower, Kennedy, Johnson, Nixon, Ford, Carter, Reagan, George H.W. Bush, Clinton, and George W. Bush. In the searchable document archive, you can choose from several "Document Type" choices, including "Farewell" (some, not all, radio content), "Saturday Radio" (Reagan, George Bush, Clinton, George W. Bush, Obama), "Fireside Chat", and "Oral remarks - (non-categorized)" (do a "find" for the word "radio" to see miscellaneous recordings available).

HPOL materials range from formal addresses delivered in public settings to private telephone conversations conducted from the innermost recesses of the White House. This resource has a searchable and browseable collection of audio files, primarily between 1960-1979. Most earlier files in the collection relate to Roosevelt and the most recent file regards Clinton. If you click "Search", select "Transcript" from the dropdown menu, and enter "radio" into the search field, you get a few results with linked audio.

Incudes 400 commercials from the 1920's-1970's.

Incudes 400 commercials from the 1920's-1970's.

Designed as an expansive repository of aural resources, Historical Voices will grow to include many more collections from partnering institutions around the country. The purpose of Historical Voices is to create a significant, fully searchable online database of spoken word collections spanning the 20th century - the first large-scale repository of its kind. While development of a search function is still underway, thte gallery "Studs Terkel: Conversations with America" includes recorded interviews for his radio program.

Under "More browse options", you can choose an option to browse collections containing "Sound recordings" -- this will limit your results. you can also search within "Sound recordings" for "radio" to look at those specific results, which include: "Speech by Eleanor A. Roosevelt, New York", "Dear Mr. President", Detroit, Michigan, January or February 1942", recordings from the United State and the world at large for the "September 11, 2002, Documentary Project" and recordings from the "Coolidge Era".

The finest radio drama of the 1930’s was The Mercury Theatre on the Air, a show featuring the acclaimed New York drama company founded by Orson Welles and John Houseman. In its brief run, it featured an impressive array of talents, including Agnes Moorehead, Bernard Herrmann, and George Coulouris. The show is famous for its notorious War of the Worlds broadcast, but the other shows in the series are relatively unknown. The show first broadcast on CBS and CBC in July 1938. It ran without a sponsor until December of that year, when it was picked up by Campbell’s Soup and renamed The Campbell Playhouse. This site has many of the surviving shows, including: "Tale of Two Cities", "Treasure Island", "The Count of Monte Cristo", "Dracula", and "Mutiny on the Bounty". Audio is available as MP3 and RealAudio.

A useful page organized alphabetically by first letter of the keywords applied ("Orson Wells" under "O"; "Jimmy Durante" under "J", etc.). Some of the keywords may be decades ("1950's") and can be viewed that way too.

Includes both audio-only and audio-visual results.

This site features information and audio files for such genres of Old Time Radio as "mystery", "radio news" (by commentator and by "radio events"), "comedy", and "sci-fi" -- links to specific shows are also provided (i.e., "Captain Midnight").

This page has links to sermons broadcasted by churches across the United States, organized by church name (not by state). Icons indicate blog entries (thumbtacks), event listings (calendar icon), twitter posts (the twitter "t" icon), and audio/video/PDFs of sermons (videocamera).

Addresses the history of radio and radio broadcasting in the United States. Written by Susan J. Douglas.

The entire surviving broadcasts of 9 classic series plus recordings from Old Time Radio's renowned historical audio collection. This set includes speeches by MacArthur, radio evangelist Father Coughlin broadcasts, and all 19-hours of broadcasts on 9-21-1939 at CBS-WSJV (D.C.), an autumn day where the Great Depression and the beginning of World War II collide.

The entire surviving broadcasts of 39 classic radio titles -- includes speeches by Roosevelt, Hitler, and Churchill, as well as axis power and Nazi propaganda broadcasts and broadcasts surrounding D-Day.

Database of and index to 5000+ full text, audio and video versions of public speeches, sermons, legal proceedings, lectures, debates, interviews, other recorded media events, and a declaration or two. To search for radio broadcasts, click Site Search and search the site for "radio speech", "radio broadcast" or "radio address".

Based at the University at Albany, State University of New York, Talking History is a production, distribution, and instructional center for all forms of "aural" history. Their mission is to "provide teachers, students, researchers and the general public with as broad and outstanding a collection of audio documentaries, speeches, debates, oral histories, conference sessions, commentaries, archival audio sources, and other aural history resources as is available anywhere."

The entire surviving broadcasts of 19 classic radio adventure series.

The entire surviving broadcasts of 35 classic radio series.

The entire surviving broadcasts of 19 classic radio comedy series.

The entire surviving broadcasts of 35 classic radio series.

The entire surviving broadcasts of 15 classic radio drama series.

The entire surviving broadcasts of 23 classic radio broadcasts.

The entire surviving broadcasts of 14 classic series.

The entire surviving broadcasts of twelve classic series.

The entire surviving broadcasts of 16 classic series.

Incudes 400 commercials from the 1920's-1970's.

With Music Online, Alexander Street Press aims to provide the most comprehensive database in streaming audio, video, reference, and scores on the web. Music Online allows users cross search all of the music databases published by Alexander Street Press. To search for "Radio Broadcasts" from this page, select "Miscellany" >> "Radio Broadcast". You can also search "radio broadcast" (in quotes) as a keyword from the search box at the top right of the page.

This is the full listing of available Old Time Radio recordings -- including such DVD MP3 sets as "Complete Offshore Pirate Radio Broadcasts Collection", "Bloopers, Outtakes and Off-Moments Radio & Television Madness",  "The 1938 War of the Worlds Radio Broadcast", and the "Complete Information Please Quiz Show Series Old Time Radio."

This page lists Internet video, audio and podcast interviews and stories that relate history to current events -- or history that politicians and pundits repeatedly allude to when commenting on current events. Also included: interviews with historians about new books.

Resource created by the Department of History at the University of Albany.

The OTRR Group is a community of enthusiastic fans, avid listeners, and strong supporters of “Old Time Radio". The group’s goals include restoring, preserving and sharing the classic shows from what is commonly known as the "Golden Age of Radio" (1930-1960).

AILLA is the Archive of the Indiginous Languages of Latin America.

Note this periodical was previously published as the Journal of Radio Studies until 2008. Access vol. 1, issue 1 (1992) through current.

Note you'll need to register for a free account in order to access the archives.

To search for radio media, select "Radio" from the Collection dropdown; to search for radio advertisements, select "Radio Advertisement" from the Collection dropdown. Strong search terms for "Radio" could be "deejay" or "interview"; strong search terms for "Radio Advertisement" could be "Cadillac" or "special".

It page holds links, parceled out by decade (from 1922-1959), with radio commercials, beginning in the 1920's when the first commercial stations with regularly scheduled broadcasts were heard. There is a notable difference between the ads of the 1930's-1950's and what we heard on the radio today. Also features audio of broadcasting job advertisements and sponsor promotions.

This page holds radio ratings for radio's most popular programs of the Golden Age. You can choose to view either "1930 - 1956 top shows, by season" OR "Top Shows, by network". The Radio Commercials link is also worth exploring.

Pacifica Radio pre-dates NPR as a listener-supported radio station. Best known as a chronicler of social justice movements and cultural change, the Pacifica stations have consistently embraced the performing and literary arts, offering sometimes the only forum for cutting edge and classical arts, and providing a stage to experiment with radio drama, spoken word, sound sculpture and the art of radio documentary. Interesting archival features include technical reports, program transcripts, restored audio, and radio documentaries.

One of the most famous radio broadcast collections in the world, comprised of scripts, recordings, photogragraphs and more.

More than 20,000 tracks available online. Materials include: Jewish humor in many languages, Yiddish folk songs, Yiddish theater. Ladino songs, Israeli folk songs, Chassidic nigunim, Cantorial performances, Religious services, Children's holiday stories, Classical music by Jewish composers or performers, Historical Recordings, and Radio shows and documentaries. Under "Browse" you can choose from many different genres, including Radio Commercial, Radio Documentary Series, Radio Program and Radio Show. The Dartmouth Jewish Sound Archive (DJSA) was established in 2002 as a repository of sound recordings for researchers and students. Please note, it is not a free music download site.

From this page you can view the Old Time Radio collection sorted in variious ways (recent additions, number of downloads, average review rating), as well as browse by collection, subject/keyword, creator, and date.

Site hosted by UPENN's Center for Programs in Contemporary Writing and contains audio clips of professional readings, original work, and group readings as well as other resources, such as video and podcasts.

Presidential campaign commercials 1952-2008, organized by election year, type of commercial (backfire, children, fear, etc.), and issue addressed (taxes, war, civil rights). Hosted by the Museum of the Moving Image.

Mostly fictional shows and entertainment, also includes "The Bob Hope Show" and "The Bing Crosby Show".

Two important resources here: the American Jewish Committee (AJC) radio broadcasts from 1939-present and oral histories of prominent Jewish Americans.

"Library Workshops"

Hannah Arendt

"Library Departments"

Purchase Suggestion

"E-Resources Search"

"Library Departments"

"Ask a Reference Question"

"IM us or use LiveChat"

Franklin, contains records for most books in the Penn Library systems, except for those at the Law Library. Franklin also has record for print and online journal holdings. GSE Dissertations in print are indexed here.

Social Work E-Journals

Psychology E-journal

Sociology E-journals

All E-Journals by Subject

guide refworks

refworks

encyclopedia of social work