Call#: Van Pelt Library DA566.7 .A18

"The Confidential Print comprises diplomatic dispatches and other papers that, with dates varying from country to country but in general beginning in the 1850s, were printed for limited circulation within the British government. They went to the queen or king, were sent to important embassies abroad, or were circulated to other major departments of government. As its name indicates, the Confidential Print was not available to the public because it included sensitive information."A list of series with brief descriptions is available, but run a title search in Franklin for: British Documents on Foreign Affairs: Reports and Papers from the Foreign Office Confidential Print to identify locations.

      In this article, Richard Raskin discusses the release of Casablanca in 1942 within the context of American attitudes toward the Vichy and Free-French forces. He begins by discussing prior political analyses of the film, specifically the one that states that Rick's change of heart symbolizes President Roosevelt's and the nation's shift from isolationism to involvement in the war. Raskin maintains that this interpretation of the political significance of the film is justified but not sufficient. He takes it one step further by explaining that the film also contrasts two political alternatives: accommodation with Vichy versus opting for the Free French. Ultimately, the film is pro-Free French and anti-Vichy; it was designed to portray the Free French as America's natural ally in the fight against the Germans and simultaneously portray a negative image of the Vichy as corrupt and serving the interests of Germany. As a result, there is every reason to believe that the film influenced millions of American viewers to feel a profound political and emotional identification with the Free French in 1942-1943. However, Raskin finds a contradiction in the message of Casablanca in the context of its time of release. In supporting the Free French and anti-fascism, the film misinformed the American public of the essentially anti-Free French orientation of American policy and US support of Vichy leaders in North Africa at the time.

     Despite Raskin's belief that Casablanca served to blur public awareness at the time of the film's release, this only further demonstrates the immense ideological influence of the film on American movie-goers. This article provides somewhat of a counter-argument to my thesis as it states that the film does not in fact reflect American foreign policy. In that sense, it is particularly useful for my thesis because in developing any good argument, it is important to take note of the opposing view. Raskin's analysis of the political significance of Casablanca, though it may vary from my own, gives insight into the historical context of the film's production and release. In addition, it shows the propagandistic capacity of the film and how affected audiences were by its political implications.