Editing Why We Fight (section)

==Impact==
[[File:Capra-Army-45.jpg|thumb|Frank Capra receiving the Distinguished Service Medal from U.S. Army Chief of Staff General [[George C. Marshall]], 1945]]
After [[World War I]], methods used to gain support from troops and civilians needed to change. Giving speeches to soldier recruits and to the US public was no longer effective. Film became the medium of choice to persuade US soldiers and recruits on why fighting was necessary.{{Sfn|Combs|Combs|1994|p=69}} As Kathleen German stated, "this was the first massive attempt to influence opinion in the U.S. military" through film.{{Sfn|German|1990|p=237}} Film was also chosen because it combined the senses of sight and hearing, which gives it an advantage over radio or print.{{Sfn|German|1990|p=238}} Capra, who had no experience in documentary films, was chosen because "of his commitment to American ideals" and because of the popularity of some of his earlier feature films. He was thought "to understand the heart and soul of American audiences".{{Sfn|Combs|Combs|1994|p=69}} Once the documentary series was completed, it was said to contain the "Capra touch".{{Sfn|Koppes|Black|1987|p=76}}

The series's appeal was furthered by its editing. "Throughout his career, Capra depended upon his skill as an editor to achieve the contrast of the individual and the group, critical in the success of his Hollywood movies."{{Sfn|German|1990|p=240}} Capra thought that it would be most effective to use the enemy's original film and propaganda in the series to expose the enemies with their own images. By taking pieces of the enemy material to edit together and placing his own narration over the results, Capra gave meaning and purpose to the war with added narrative.{{Sfn|Combs|Combs|1994|p=70}} That "parallel editing"{{Sfn|German|1990|p=241}} created an "us vs. them" image by re-framing and showing clips out of their original order and context.

By such careful editing, the films compare and contrast the forces of evil with the U.S. and its traditional values. Capra highlighted the differences between the US and the enemy and showed how the enemy would attack these values if "we" did not fight.{{Sfn|German|1990}}{{Page needed|date=August 2014}} That worked to create a battle not only between [[Allies of World War II|Allies]] and the [[Axis powers]] but also between good and evil. Capra treated it as a matter of showing the enormity of the Axis and the justness of the Allies.<ref>{{cite book|first=Richard|last=Overy|author-link=Richard Overy|title=Why the Allies Won|year=1996 |page=295|publisher=W.W. Norton |isbn=0-393-03925-0}}.</ref>

The ''Why We Fight'' series became a heavily used means of presenting information about Axis powers for the American government during WWII. General Surles, director of the Department of War's Bureau of Public Relations, had hoped that the series would be effective enough to allow similar kinds of army films to be shown to the general public.{{Sfn|Koppes|Black|1987|p=122}} Surles saw that goal to be realized when US President [[Franklin Roosevelt]] watched ''Prelude to War'', the most successful of the seven. Roosevelt considered it so important that he ordered its distribution in civilian arenas for public viewing.{{Sfn|Combs|Combs|1994|p=70}} However, some objections were raised against the series due to its persuasiveness. [[Lowell Mellett]], coordinator of government films and aide to Roosevelt, saw the films as dangerous. He was most concerned with the effect that the series would have after the war was over and the "hysteria" that it would create in its wake.{{Sfn|Koppes|Black|1987|p=122}} At least 54 million Americans had seen the series by the end of the war, and studies were done to gauge the impact of the films. However, results were inconclusive, and so the effectiveness of the series is still disputed.{{Sfn|Rollins|1996|p=81}}