You have to be pleasing and co-operative : Australia’s vision splendid for post-world war II migrants

This article examines the ‘vision splendid’ that existed for Australian migration following World War II. That vision (championed by the then Minister for Immigration, Arthur Calwell) was myopic, but is still pertinent to current debates on Australian Migration, particularly in the way that migrants were placed in categories of the desirable. This paper uses a particular migrant group, the Temple Society, to illustrate the concerns of 1940s immigration policy. This group was interned in Australia during World War II and underwent postwar investigations by the then newly formed Department of Immigration.

University entrance in Queensland : post World War II challenges to the influence of the University of Queensland

From its inception the University of Queensland determined the assessment procedures that governed its student selection; while initially this determination was absolute, after 1945 challenges to the university's influence resulted in significant gains in influence by other interested groups.

Australia and appeasement : imperial foreign policy and the origins of World War II

This book examines Australia's role in the British Empire's policy of Appeasment in the years from the time Hitler came to power 1933 to the outbreak of the European War in September 1939. Focusing on the five leading figures in the Australian governments of the 1930s - Joe Lyons, Stanley, Bruce, Robert Menzies, Billy Hughes and Ricahrd Casey - this book examines their responses to the rise of Hitler and the gowing threat of fascism. It provide new insights into the history of Australian foreign policy, British imperial history and the history of the Origins of the Second World War. 

Exhibit review : Focus on strangers: photo albums of World War II, Stadtmuseum, Jena, Germany, 2011

Focus on Strangers: Photo Albums of World War II is based on a collaborative research project conducted by two German universities (Carl von Ossietzky Universität Oldenburg and Friedrich Schiller Universität Jena) and was conceptualized in cooperation with four German city museums in Oldenburg, Munich, Frankfurt, and Jena. While the exhibition continues a tradition of museological projects examining Germany’s war history, such as the Wehrmachtsaustellung, which provoked fi erce public debate, Focus on Strangers moves beyond most conventional approaches in a signifi cant way. Th e exhibition pays tribute to the recent development in which private traces of memory have become part of the public perception of history, in this case the history of World War II.

National World War II Memorial

This poster is an image of a painting created by Joe McKendry of an architectural war memorial designed by Friedrich St. Florian that was given to RISD President Roger Mandle. The memorial is located in Wahington, D.C.

World War II Prisoner of War Tag - Accession 269 - M116 (148)

The World War II Prisoner of War collection consists of a World War II prisoner of war tag issued by the United State Printing Office in 1942.

An Ethical History of Photography in Combat and of Combat Photography in the United States during World War II

With the United States‘ entry into the Second World War, the word ?censorship? was seen largely as antithetical to, rather than a necessary counterpart to, victory among Americans. People did not want to be censored in their writing, photographs or speech,but it proved to be necessary even before the war began, in order to protect government secrets and the people on the home-front from scenes that were too disturbing. Even before the war had officially begun, there were problems with censorship among journalists and newspapers. The initial response of outrage in reference to censorship in the United States was common among journalists, newspapers, magazines, and radio news; nevertheless, there was a necessity for censorship among Americans, on the home frontand the front lines, and it would be tolerated throughout the war to ensure that enemies of America did not gain access to information that would assist in a defeat of the United States in the Second World War. The research I have conducted has dealt with the censorship of combat photography during World War II, in conjunction with the ethics that were in play at the time that affected the censors. Through exploring the work of three combat photographers — Tony Vaccaro, James R. Stephens and Charles E. Sumners — I wasable to effectively construct an explanatory ethical history of these three men. Research on the censorship and effects it had on the United States brought me to three distinctareas of censorship and ethics that would be explored: (1) the restrictions and limitations enforced by the Office of Censorship, (2) a general overview of war and photography as it influenced the soldiers and their families on the home-front, (3) and the combat photographers and personal and military censorship that influenced their work. Although their work was censored both by the military and the government, these men saw the war in a different light that remained with them long after the battles and war had ceased.Using the narratives of Tony Vaccaro, Charles E. Sumners and James R. Stephens as means for more in depth research, this thesis strives to create lenses through which to view the history and ethics of censorship that shaped combat photography during the Second World War and the images to which we refer as representative of that war today.