The First World War in biscuits

This is a mixed-media exhibition incorporating objects, sound and film, and drawing on archives held at Reading Museum and MERL. It focuses on the role of the Huntley and Palmers biscuit factory in Reading during the First World War.

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.

Panorama of immigration for Sao Paulo following the Second World War

This article proposes to analyze the results of a research conducted in the São Paulo Immigrants Memorial, whose purpose was to work with an agreement between the state of São Paulo and the Union, according to which the state committed itself to receive, from May 1947 to 1952, immigrants of different European nationalities. Such immigrants had a specific characteristic that conferred them a peculiar status in the eyes of the United Nations, given the fact that they originated from Germany and Austria and where either displaced persons or refugees who could not or did not want to return to their homelands, for several reasons. Italians represented only 0,12% of this group. Italian immigration to Brazil became significant only after 1950, due to the Brazil-Italy immigration agreements.

World War I Photographs - Accession 228 - M98 (126-127)

The World War I Photograph Collection consists of copies of photographs of World War I Battle scenes taken by Rock Hill resident Captain Charles S. Caldwell, a captain in the U.S. Army medical corps, who served in Belgium and France from August, 1918, to July, 1919.

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.