Newsreels as Public Noise
1919This flow traces how headlines, songs, advertising, and official statements turn public life into competing fragments of information.
increasing
Bearing strength in each event
decreasing
War Headlines and Songs

War Headlines and Songs
Collage replaces explanation
The newsreels combine battle headlines, songs, advertisements, and political quotations without a stable narrator to reconcile them.
Public feeling as material
Jingoism, commercial confidence, fear, and popular entertainment appear side by side. The fragments show how public understanding is assembled from competing messages.
Propaganda and Casualty

Propaganda and Casualty
Official optimism
News reports describe advances and heroic exploits alongside calls for bonds and enlistment. Government claims offer order and purpose.
Contradictory evidence
Other fragments report death, hunger, profiteering, and dissent. Their proximity prevents a single official story from feeling complete.
The Armistice Soundtrack

The Armistice Soundtrack
Celebration in fragments
Songs of homecoming and victory mingle with news of riots, shortages, and political unrest. The end of fighting arrives as spectacle rather than simple closure.
Uneasy return
The collage captures soldiers’ impatience and civilians’ uncertainty. Celebration cannot erase the unfinished business of demobilization and peace.
Peace and Suppression

Peace and Suppression
A fractured public sphere
News items report labor disputes, revolutionary movements, and state efforts to suppress radical speech. Headlines make political conflict appear simultaneously distant and immediate.
Silence is manufactured
The newsreels expose censorship and distorted reporting as part of postwar power. What cannot be printed becomes as important as what appears in the paper.
The Unknown Body

The Unknown Body
A national story assembled
Public speeches and ceremonial reports frame the burial of an unidentified soldier as a unified national tribute.
The collage breaks the frame
The surrounding fragments and anonymous lives unsettle the ceremony’s claim to represent everyone. The newsreel form makes public memory visible as a constructed, contested narrative.
At the opening wartime newsreels
As American forces enter the war
Around the November 1918 armistice
During postwar strikes and political unrest
Near the closing dedication of the Unknown Soldier