This is a contemporary essay of how government agencies helped shape Hollywood documentaries.  What is particularly interesting is that an author of the essay was involved first-hand in the Hollywood-US government interaction: Robert Katz was Deputy Chief of Long Range Operations in the Office of War Information (OWI), Overseas Branch and then Assistant Chief of Production Planning in the International Motion Picture Division of the Department of State in 1946 and 1947.  In this essay he co-authors with Nancy Katz, Robert Katz discusses the role of the "Private Snafu" series vis-à-vis other elements of government propaganda to manage and ensure morale of the troops.  Specifically, the Katzs discuss how one of these shorts film portrays the consequences of Private Snafu neglecting a hole in the mosquito net: death at the hands of "Anopheles Annie," a malaria-carrying mosquito.  Such films were direct answers to concerns and questions that soldiers had about life in the military.  In addition to the Armed Forces, other forms of government interaction with the film industry included the Overseas Branch of the OWI, which actually made films that were shown exclusively abroad to promote elements of the New Deal.

This essay places the “Private Snafu” series in historical and contextual perspective in relation to other war time film propaganda, both in terms of the intended audience and the production process.   It also captures the importance of the documentary filmm=-making approach and its relevance for effective propaganda.

Smoodin discusses the complex relationship between Hollywood and the government, which essentially acts as a studio as it plays a increasing role in controlling film media during World War II.  Smoodin points out the irony that in serving to assuage soldiers’ discontent with military life, the “Private Snafu” series also reinforced how much discontent permeated the military.   By presenting a negative example of how not to act, these films were effectively both modeling and providing resistance against military authority.  

Smoodin’s argument resolves the fact that the “Private Snafu” series both illuminated and worked to address contradictions within military life.  In fact, the seeming irony does not undermine the ideological purpose and inherent success of these films to serve the needs of the government in maintaining morale in the military because they represented the reconciliation between the individual and the group in social psychology.  The relevance of psychology and one’s awareness as an “everyman” soldier vis-à-vis the greater goals of the group (and the nation) meant that the “Private Snafu” series provides more positive answers to address soldiers’ concerns than exposes negativity about these concerns.

Ohmer notes in her review of "Animating culture: Hollywood cartoons from the sound era" by Eric Smoodin (Rutgers University Press: New Brunswick, NJ, 1933. 216 pgs) that "Private Snafu" series was often shown at civilian theaters at the end of military film. According to Smoodin, the character of Private Snafu acted as an outlet that addressed soldiers' discontent while also indoctrinating them further with ways of military life. 

Ohmer’s discussion hints at a counterpoint to the effectiveness of the “Private Snafu” series in that the propaganda may have done more harm than good for its audience.  Although the films succeeded in ironing out soldiers’ qualms, their discussion of these qualms reinforces many of the negatives of military life.

In this article, Danks focuses on "Spies" as a quintessential example of the "Private Snafu" series and how its close relation to documentary film reinforced its effectiveness as propaganda.  The films were produced by Frank Capra and commissioned as part of "The Army-Navy Screen Magazine."  Their targeted audience is reinforced in the film’s use of sexually suggestive content that would have been banned by the Production Code if not for the film’s role in propaganda for the military.  In addition, the series was also the first collaboration of Dr. Seuss and Chuck Jones, and drew attention to the social psychology of the individual in the military.

“Private Snafu” was particularly effective because of the many ways in which it was allowed to differ from mainstream cinema as a result of its production for a specific audience.  Exclusive exhibition to the military enabled the films to capitalize on its creativity and often raunchy humor to tell the story of Private Snafu.  Furthermore, the propaganda purposes of “Private Snafu” give it an approach similar to that used in documentary film-making aimed at telling the “truth.”

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.

Ohmer, Susan. Rev. of Animating Culture: Hollywood Cartoons from the Sound Era, by Eric Smoodin. Film History Vol. 6, No. 3 (1994): 405-408.

Animation was an outlet of soldiers to vent their frustrations, but more importantly, a tool to indoctrinate them about military life and protocol. The cartoons emphasized fulfilling patriotic duty, despite tensions and contradictions in military life. But additionally, Smoodin asserts that cartoons functioned to reduce tensions arising from the rest of the program. The film bill exemplified American ideals, the cause that the soldiers fought for, but also diffused potentially jarring differences to produce a smooth, functional unit. Animation was a key component in mitigating differences.

Frank Capra produced the Army-Navy Screen Magazine, which featured newsreels, training, and usually concluded with Private Snafu. As the entertaining and humorous portion of bill, animations was a happy contrast to newsreels and dramas, which dealt with more serious subjects. SNAFU stood for "Situation Normal: ALL F**ked UP". It was an unofficial acronym describing how the normal state of affairs is in a mess.  The Private Snafu series presents the idea of tensions and contradictions in military life, but in an acceptable manner. Often times, newsreels, training films, and dramas triggered tension, which needed a safe outlet: cartoons. This led to acceptance of the norm and desensitization towards the harsh realities, even the idea of killing or being killed becomes less foreboding.

Birdwell, Michael. Technical Fairy First Class? Is this any way to Run an Army?: Private Snafu and World War II. Historical Journal of Film, Radio and Television Vol. 25, 2 (2005): 203-212.

This article explains how Private Snafu was brought about and why he was brought about.  Snafu was the anti-soldier: he kept idle, left weapons in disrepair, skipped training, and so forth. He "died--again, and again and again--so that many GIs might live". Snafu was a tool of indoctrination that the military believed was necessary for the average GI. The lack of censorship for crass behavior catered to the soldier's need for humor and escape from the mundane training videos and dramas.

Chuck Jones used the voice of Bugs Bunny for Private Snafu's voice, creating a dissonance. Soldiers associated Bugs Bunny with wit, doing the right thing; Snafu, on the other hand, does the wrong thing, but still preserves two essential traits of Bugs Bunny: disrespect for authority and a knack for smart-aleck remarks. This dissonance leads soldiers to distance themselves from Snafu and unite against his blunders. The message is clear: every GI could be snafu. As mentioned in the article, the Private Snafu series was an antidote to the tedious training videos and reinforced what they had learned from those training videos. Additionally, the parody of Jiminy Cricket, the Technical Fairy First Class, served to represent the shortcuts in the military that always backfires. In end, Snafu is bi-polar: on one hand, we have the normal non-career solider that the GIs related to and on the other, we have the anti-soldier that GIs had to alienate against. This enforces obedient behavior--the "if I follow orders, I will be fine" mentality.  It desensitizes them against reality, in hopes of staying alive.

During the early 40s, American animators created propaganda in the form of animation to desensitize soldiers and civilians alike to the harsh conditions. Animations, such as the Private Snafu series and The New Spirit (1943), were created to unify against the enemy. As opposed to the pretentious "realism" of Hollywood films, animations were more insidious in presenting propaganda through seemingly innocent cartoons.