Over four million copies of this poster featuring ‘Uncle Sam’ were printed between 1917 and 1918, after the United States entered World War I. Because of its enormous and enduring popularity, the image was adapted for use in World War II and has been satirised in anti-war propaganda during the Vietnam War and later conflicts. Uncle Sam is now a cultural icon, instantaneously recognisable as the most enduring representation of the United States in art. James Montgomery Flagg (artist), I want You for U.S. army. c.1917. Loan courtesy of Anthony d’Offay, London

This enormous portrait of Napoleon was painted to inspire loyalty and intimidate critics at a time when the Emperor’s power was declining and France was besieged on all sides. It is filled with symbols that present Napoleon as the undisputed ruler of France. The painting was originally hung in the Council Hall of Montpellier but less than a year later, with Napoleon defeated, the painting was removed and returned to the artist with the bill unpaid. Napoleon, J. B Borely, 1813

War bond stamps could be mass produced and circulated widely. Liberty provided a symbol that would be understood anywhere in the United States. The theme of “freedom imperilled” deflected from discussion of the rationale for joining the war. National War Savings Committee. Paper bags with war savings messages. c.1916.

This slogan has been used in Britain since World War II, featuring most recently in campaigns against swine flu. From its inception, the National Health Service included a mission to improve health through the prevention of disease. One way of achieving this was through public health campaigns which focused on personal responsibility. Those who failed to heed good advice were characterised as a public menace. He’s a public enemy c.1960

On the Return to Health of George III – This unusual commemorative fan links the well-being of the nation with the health of the King using the phrase ‘Health is restored to ONE and happiness to millions.’ King George III had recently recovered from one of his recurring bouts of illness and the fan was issued as part of efforts to re-establish his authority. On the King’s Happy Recovery. 1789. Loan courtesy of the Museum of London

In this Soviet poster, New York’s famous Statue of Liberty is parodied as a look-out tower for the American police to observe its people, mocking the idea that it is a symbol of freedom. The poster attacks and subverts American propaganda that promoted the idea of the democratic freedom of the West. B. Prorokov, Freedom American-style. Moscow, 1971.

In World War I, the Parliamentary War Savings Committee set about using existing party-political networks to raise funds from the British public. This poster encourages donations by using a simple design to show a direct link between savings and military success. The very literal use of a five shilling piece provides added symbolic impact, as it carries the image of St George slaying a dragon. Parliamentary War Savings Committee. Lend your five shillings to your country and crush the Germans. London, 1915

Painted when Mao was 74, this image shows an event almost half a century earlier. Mao is shown as a young man striding to single handedly win victory in the 1922 miners' strike at Anyuan. It is believed to be the most reproduced painting anywhere in the world, with more than 900 million copies made. The painting was declared a “model” of Cultural Revolution art and the themes ideology contained within it played a significant role in influencing Mao’s personality cult. Chairman Mao goes to Anyuan, Liu Chunhua, 1967. OR 5896

The Tufty Club was set up in 1961 by the Royal Society for the Prevention of Accidents to encourage better road safety amongst children. At its peak in the early 1970s a network of 24,500 local Tufty Clubs had around 2 million children as members. Cards and other material helped spread the message as Tufty and his friends learned from Mrs Owl how to cross the road safely. The images and language used in the ‘kerb drill’ are designed to appeal to very small children. Younger children were amongst the most at-risk group for pedestrian traffic accidents. Royal Society for the Prevention of Accidents, materials for a Tufty Club Christmas party. London, c.1964

This scarf shows a map demonstrating London’s endurance in the face of German bombing. Churchill’s ‘We Shall Fight Them on the Beaches’ quote and American broadcaster, Ed Murrow’s, famous exultation ‘London can take it!’, run alongside a map of bomb sites. The government feared that continued aerial bombardment could lead to a collapse in the morale of British citizens. Messages that stressed the resilience of Britain and of British character were used to rally and sustain support for the war. Nicol V. Gray, London has taken it! London can take it again! (rayon scarf). c.1942. Loan courtesy of the Museum of London.

Coalition commanders circulated packs of playing cards to the US-led forces invading Iraq in 2003 to enable troops to identify and capture prominent members of Saddam Hussein’s regime. The cards served a practical purpose but also sent a message about the extent and quality of the Coalition’s intelligence, and its willingness to seek out Iraqi leaders. The tactic was first used during the American Civil War (1861–65). Intelligence Agency of United States, Iraq War Playing Cards. 2003. Loan courtesy of David Welch.

Chorus is a new data-driven installation by digital art studio FIELD, commissioned by the British Library.  Chorus examines how ideas and opinions spread via social networks today, where everybody can be a source of influential content. In minimalist typographic animations and using only original Twitter messages, Chorus renders a picture of contemporary propagandistic patterns, and their complex choreographies.