Collaborative Doctoral Partnership student Ellis Keeber writes about his experience of using IWM’s Research Room for his PhD exploring the British Sector of Berlin during the period 1945-1971.
In 2020, IWM initiated Digital Futures, a five year project to digitise 1.8 million films, photographs and sound recordings and slow down the degradation of 6.8 million items by freezing, isolating or refrigerating them. This mass preservation project is digitising some of our most vulnerable media from the Cold War era.
Sir Philip Hesketh-Smithers went to the folk-dancing department; Mr Pauling went to woodcuts and weaving; Mr Digby-Smith was given the Arctic circle; Mr Bentley himself, after a dizzy period in which, for a day, he directed a film about postmen, for another day filed press-cuttings from Istanbul, and for the rest of the week supervised the staff catering, found himself at length back beside his busts in charge of the men of letters.
On 4 November 1943, just over a month after the first Allied troops entered war-torn Naples, Lt. Peter Francis of the Royal Artillery made his first acquaintance with the ruins of the Real Teatro di San Carlo, one of the oldest and most prestigious opera houses in the world. The theatre had been closed in 1942 and it was now in a terrible state: bomb damage had blasted the foyer, debris and layers of dust covered the internal surfaces, there was no electricity or water and a German machine gun nest was still installed on its roof. The British requisitioned the building and, under Peter Francis’s authority, on 15 November 1943, with the frontline just 30 miles away, the theatre officially re-opened its doors to soldiers and civilians. The news that the theatre was about to reopen and in need of workers quickly spread around the city causing excitement among the Neapolitans. The first production of the theatre’s new course was an improvised Italian revue significantly titled So this is Naples.
George Orwell calculated that the tea ration - 2oz per week during the Second World War - could be eked out to twenty cups a week. So important was tea considered to be for the welfare of the nation that pensioners were allocated a slightly larger ration. Orwell’s ‘A Nice Cup of Tea’, published in 1946, illustrates its importance in British culture. He described the eleven stages required for making the perfect cup of tea, the etiquette surrounding tea-drinking and the varied uses for tea leaves from fortune-telling to cleaning carpets. Whether it was Lyons Green Label, Typo, Brooke Bond or Twinings, tea - along with cocoa for children - is referred to in numerous accounts about London during the Second World War as the favoured drink after bombing raids. Its importance is reflected in a significant number of photographs in the 'London bomb damage’ section of the Ministry of Information Press & Censorship Bureau Photograph Library at IWM London, which show both the realities for bombed Londoners as well as carefully staged propaganda shots. Londoners gathered together in groups drinking tea is a favoured trope in this archive.
In works on French history, the word ‘Occupation’ (often capitalised) is heavily associated with the Occupation of the Second World War, France’s ‘Dark Years’ of 1940–44. However, whilst this was and remains the defining experience of military occupation for the French, there were other instances of this phenomenon in the country’s modern history. In the case of the First World War, when the war of movement subsided in September – October 1914 around 2.1 million French people found themselves cut off from the rest of the country by the trench networks running from the coast to the Swiss border.
This photograph of an Indian soldier on board a troop ship to Singapore in 1941 confronts us with a familiar gesture from the Imperial War Museums archives. The soldier thrusts his head and arm through the ship’s porthole, and appropriates Churchill’s well-recognised ‘V for Victory’ symbol with the fore and middle fingers of his right hand. Incidentally, he isn’t attempting to be rude! Churchill himself didn’t realise that the ‘V for Victory’ symbol made with the palm inwards could be an insult until his aides briefed him.
17 February, 2017 marked the 150th anniversary of the birth of an important and yet comparatively little-known British photographer. Perhaps more than any other photographer, Horace Nicholls has shaped our perception of Britain during the first decades of the twentieth century. Even though his name is probably unfamiliar, you will almost certainly recognise his iconic images of fashionable upper class ladies at Ascot or, in stark contrast, women munitions workers during the First World War.
‘The test has now begun.’ These five words, which have struck fear into the hearts of many, seem oddly out of place in the Wellcome Collection’s impressive Reading Room. It’s not just the location, rather that all participants including five from the IWM’s Second World War Galleries team, are wearing false moustaches.
I was invited to speak at a workshop on 15 October at the Imperial War Museum, London, on black people’s involvement in the First World War. I was honoured to be part of a panel where the work of each speaker complemented one another. I was asked to present my findings on research into the commemoration of African and Caribbean servicemen after the war ended. I was also asked to give my thoughts, along with the panellist Anna Maguire, one of IWM’s PhD students, on photos from the IWM’s collection on soldiers from the British West Indies Regiment, the South African Native Labour Corps, and the Nigeria Regiment, and finally a session with questions to the panel.