Today, the Walt Dis­ney Com­pa­ny seems like one of those enti­ties that’s “too big to fail” — but dur­ing the Sec­ond World War, fail it near­ly did. Like the big-think­ing enter­tain­er-busi­ness­man he was, Walt Dis­ney him­self had been re-invest­ing the com­pa­ny’s prof­its into ever more ambi­tious ani­mat­ed films. This prac­tice took an unfor­tu­nate turn with Fan­ta­sia, which may now be regard­ed as a clas­sic even by those of us with­out inter­est in Dis­ney movies, but which did­n’t bring in the expect­ed box-office take when it was ini­tial­ly released in 1940. It fol­lowed the also-under­per­form­ing Pinoc­chio, which could­n’t reach audi­ences in war-torn Europe. The fol­low­ing year, Dis­ney found itself at the edge of bank­rupt­cy.

Then came the Japan­ese attack on Pearl Har­bor, which result­ed in the U.S. Army’s eight-month-long occu­pa­tion of Walt Dis­ney Stu­dios. The idea was to pro­tect a near­by Lock­heed plant, but Dis­ney, who’d already made inquiries about pro­duc­ing war films, used an oppor­tu­ni­ty to make a deal that saved his com­pa­ny.

Walt Dis­ney Stu­dios was con­tract­ed to make not just a vari­ety of train­ing films for mil­i­tary use, but also a series of war-themed car­toons for pub­lic exhi­bi­tion. This was “total war,” after all, which required the mobi­liza­tion of the pub­lic at home, and the mobi­liza­tion of the pub­lic at home required domes­tic pro­pa­gan­da. Who bet­ter to stoke Amer­i­can desire for vic­to­ry over the Axis than Dis­ney’s biggest ani­mat­ed star at the time, Don­ald Duck?

In the most acclaimed of these car­toons, the Acad­e­my Award-win­ning Der Fuehrer’s Face from 1943, Don­ald Duck is employed at a muni­tions fac­to­ry in Nutzi­land, some kind of Axis super­state ruled over by Hiro­hi­to, Mus­soli­ni, and espe­cial­ly Hitler. It’s some­thing else to hear the phrase “Heil Hitler!” in Don­ald Duck­’s voice, and through­out his day of humil­i­a­tions and pri­va­tions in Nutzi­land, he has to say it quite a lot. Just when all of this has put him in a tail­spin toward mad­ness, he wakes up in his bed­room back in the Unit­ed States of Amer­i­ca, stars-and-stripes cur­tains, minia­ture Stat­ue of Lib­er­ty, and all. For Don­ald, the night­mare is over — but in real life, Allied vic­to­ry remained far from a sure thing.

You can watch Der Fuehrer’s Face and sev­en oth­er Dis­ney-pro­duced World War II pro­pa­gan­da car­toons (along with the Looney Tunes short The Duck­ta­tors, from Warn­er Bros.) in the playlist above. To be sure, some of them con­tain ele­ments con­sid­ered crude and even offen­sive here in the twen­ty-first cen­tu­ry. But like all pro­pa­gan­da, they’re all of great his­tor­i­cal val­ue, in the realm of both polit­i­cal his­to­ry and the his­to­ry of ani­ma­tion. Con­sid­er how they found their way into Europe and Rus­sia, find­ing audi­ences there even as the war raged on; con­sid­er, too, how well-loved Don­ald Duck and his com­pa­tri­ots have been by gen­er­a­tions of Ger­man, Ital­ian, and Japan­ese chil­dren. After this total war, no one enjoyed more total a vic­to­ry than Dis­ney.

Relat­ed con­tent:

Edu­ca­tion for Death: The Mak­ing of the Nazi – Walt Disney’s 1943 Film Shows How Fas­cists Are Made

Neu­ro­science and Pro­pa­gan­da Come Togeth­er in Disney’s World War II Film Rea­son and Emo­tion

Before Cre­at­ing the Moomins, Tove Jans­son Drew Satir­i­cal Art Mock­ing Hitler & Stal­in

Pri­vate Sna­fu: The World War II Pro­pa­gan­da Car­toons Cre­at­ed by Dr. Seuss, Frank Capra & Mel

“Evil Mick­ey Mouse” Invades Japan in a 1934 Japan­ese Ani­me Pro­pa­gan­da Film

“The Duck­ta­tors”: Loony Tunes Turns Ani­ma­tion into Wartime Pro­pa­gan­da (1942)

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.