Soldiers Without Guns

Adolph Treidler’s “Soldiers Without Guns” was created in 1944 and published by the Government Printing Office to contribute to propaganda spread during World War II, which encouraged women to join the workforce[1]. The poster showcases three women who work for the war as an office worker, welder and a factory worker[2]. World War II required all of America’s population and industrial capacity[3] in order to have enough resources to successfully compete in war. This led to the necessity for women to become key figures working on the home front to help the war efforts.

President Roosevelt created the War Production Board in 1942 in an effort to direct conversions of industries over to war production[4]. This allowed for the nation’s war economy to become the most efficient military machine[5]. While the United States was efficient in cranking out materials necessary to be successful in war, many places of work had job openings as men were shipped overseas to fight in the war. In order to continue to be prolific in creating supplies, women entered the work force in large numbers[6].

Propaganda, a tool used to influence the public’s opinion, was used to influence the drive for women to join the workforce. Before World War II, the propaganda fed to women aimed to keep them away from the workforce[7] in order for them to stay at home and be homemakers for their families. Propaganda before the start of World War II that appeared in the press, radio and movies portrayed women as totally dependent on men[8].

The war had a disruptive effect on society as domestic life was changed for women. This had a great impact on women’s employment and set the stage for the expression of women power and its impact on women’s future horizons[9]. Now to help recruit women for traditionally male jobs, the government launched a promotional campaign featuring the story of Rosie the Riveter[10] to inspire women to help on the home front by picking up men’s jobs.

This campaign changed the conversation surrounding women in the workforce. The image of women quickly changed from that of the humble housewife, happy in her household tasks to one of a strong, independent working woman who was proud to do her part in helping the war effort[11]. In 1920, women only made up twenty percent of the labor force, but by 1945 women comprised thirty-six percent[12] During the war more than eight million women entered the civilian workforce[13].

An account from a 31-year old housewife entering the workforce for the first time during the war explains the impact that advertisements and propaganda had on women joining the war efforts. She stated, “The Seattle papers were full of ads for women workers needed to help the war effort. . . I wanted to do something I thought was really vital”[14]. Therefore, she went to work at Boeing despite her parents and husband’s displeasure in her taking a job that was a traditionally male job.

Through propaganda, like “Soldiers Without Guns”, the image of women was transformed to a proud patriot in a semi-skilled assembly line job or doing clerical work[15]. The poster of “Soldiers Without Guns” helps us understand the importance of propaganda during World War II in order to encourage women to enter the workforce to help the fight of the war while the men were fighting. When looking at the image of the three women, you can see strength through their serious faces and patriotism through the color scheme of red, white and blue outfits the artist chose to use. This poster is a clear example of the importance of working women for the benefit of the war.

[1] Adolph Treidler. Soldiers Without Guns. Photograph. Washington, DC, n.d. Library of Congress.

[2] “Ibid”

[3] David Emory Shi. America: a Narrative History. New York: W.W. Norton & Company, 2019.

[4] David Emory Shi. America: a Narrative History. New York: W.W. Norton & Company, 2019.

[5] “Ibid”

[6] “Ibid”

[7] Richard Cardinali and Zandralyn Gordon. 2002. “Woman Power: The Fuel that Propels the Equal Opportunities Engine: Examining the War Years, 1941-1945.” Equal Opportunities International 21 (3): 21-31. doi:http://dx.doi.org/10.1108/02610150210787136. https://search.proquest.com/docview/199665248?accountid=13793.

[8] “Ibid”

[9] “Ibid”

[10] David Emory Shi. America: a Narrative History. New York: W.W. Norton & Company, 2019.

[11] Richard Cardinali and Zandralyn Gordon. 2002. “Woman Power: The Fuel that Propels the Equal Opportunities Engine: Examining the War Years, 1941-1945.” Equal Opportunities International 21 (3): 21-31. doi:http://dx.doi.org/10.1108/02610150210787136. https://search.proquest.com/docview/199665248?accountid=13793.

[12]  Pat Kaufman. 2002. Rosie the riveter remembers. Magazine of History 16, (3) (Spring): 25-29, https://search.proquest.com/docview/213740844?accountid=13793 (accessed April 5, 2020).

[13] David Emory Shi. America: a Narrative History. New York: W.W. Norton & Company, 2019.

[14] Pat Kaufman. 2002. Rosie the riveter remembers. Magazine of History 16, (3) (Spring): 25-29, https://search.proquest.com/docview/213740844?accountid=13793 (accessed April 5, 2020).

[15] Maurice Honey. 1985. Creating rosie the riveter: Class, gender, and propaganda during world war II. Minerva III, (2) (Jun 30): 65, https://search.proquest.com/docview/222792806?accountid=13793 (accessed April 5, 2020).