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During World War 1 propaganda was widely used to promote the support of the war.

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In 1917 the Woodrow Wilson Administration sets up the Committee on Public Information (CPI) in order to regulate and distribute propaganda in support of WWI.

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He served as the head of the United States Committee on Public Information, a propaganda organization created by President Woodrow Wilson during WWI.

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George Creel is put in charge of the CPI putting out propaganda. The propaganda promoted uses stratagies of depicting the Germans as inhumane savages, never showing those who died in the war, and using patriotic figureheads.

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The Beat Back the Hun poster is an example of the promotion stratagies used. This poster is a very famous one that was widely spread during WWI. The purpose is to encourage Americans to buy liberty bonds to help defeat the Germans. They depict Germans to be evil and bloodthirsty through the image on the poster.

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During the mid 30's to the late 50's propaganda centered mostly around WWII and its implications on the whole world.

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On May 22nd, 1944 Time magazine published a photo of a young woman who was sent a Japanese soldiers skull by her boyfriend who was fighting in the pacific. As you can see, dehumanizing the Japanese helped people accept and support the war in the pacific by not seeing them as humans but rather as trophies and animals.

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A young woman writing a thank you note to her boyfriend in the Navy for the skull of a Japanese soldier that he sent, 1944 - Rare Historical Photos

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A rare and disturbing picture, so much about this it’s still a mystery. We don’t know what became of the skull—or, indeed, what became of the young woman herself, or the man who sent it to her as a “gift” from the Pacific in the midst of World War II.

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Betty Gramble gradually was recognized as "The Pin Up Girl" because of her fame during WW2 among soldiers. She was seen as a young attractive woman which was something most soldiers longed to come home and see again.

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During the Golden Age of Photography, propaganda was mostly seen during the Vietnam war and during the Gulf War.

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The Vietnam war was like no other and most likely never will be. There was no censorship of any kind and photos of death, destruction, and heartbreak were widespread. This most likely lead to it being one of the most controversial wars we have ever been in. With millions of Americans protesting America's involvement.

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The Flower and the Bayonet is a photograph of Jan Rose Kasmir, at that time an American high-school student. This iconic photograph was taken by French photographer Marc Riboud. Due to technological advances in photography, journalists could venture inside battlefields without much technical trouble.

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Philip Jones Griffiths was born in the North of Wales in 1936, before the start of the Second World War. This was Philip’s first glance into the efforts of an American army trying to win over “hearts and minds.” When he got to Vietnam he recognized the same tactics being used there. This photo captures the corrupted and persuasive influence of consumerism on citizens of Vietnam.

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During the 1980's following the Vietnam war, the Cold War was still very present and various propaganda films, pictures, and other forms of media were released.

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In this picture U.S. Ambassador to the United Nations, Adlai Stevenson confronts Soviet delegate Valerian Zorin with a display of reconnaissance photographs during emergency session of the U.N. Security Council at the United Nations headquarters in New York, in 1962.

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Mary Ann Vecchio, who was only 14 years of age, screams over the body of 20 year old Kent State student Jeffrey Miller after he was shot by the Ohio National Guard during a protest against the U.S. invasion of Cambodia during the Vietnam War in 1970.

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Photography during the gulf war was more rare due to it being severly censored by the government. Photographers were prohibited from publishing any photos that depicted any tragedy or essentially any evidence of the war that was occuring.

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Kenneth Jarecke photographed an Iraqi man burned alive, believing it would change the way Americans saw the Gulf War. The gruesome photograph ran against the popular myth of the Gulf War as a “video-game war" which was a conflict made humane through precision bombing and night-vision equipment. Time magazine and the Associated Press denied the publication of the image, howeverThe Observer in the United Kingdom and Libération in France both published it after the American media refused.

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In late February, during the war’s final hours, Jarecke and the rest of his press pool drove across the desert, each of them taking turns behind the wheel. They had been awake for several days straight