War of the Worlds: Blog tasks

War of the Worlds: Blog tasks

Media Factsheet

Read Media Factsheet #176: CSP Radio - War of the Worlds. You'll need your Greenford Google login to download it. Then answer the following questions:

1) What is the history and narrative behind War of the Worlds?

War of the Worlds started as a novel by H.G. Wells in 1898 and tells the story of a Martian invasion of Earth and the battle between humans and aliens. It’s often seen as a critique of British Imperialism and reflects Victorian-era fears and prejudices. Over time, it’s been adapted into several different formats, including Orson Welles’ famous 1938 radio play, a 2005 film with Tom Cruise, and even a musical album by Jeff Wayne in 1978.

2) When was it first broadcast and what is the popular myth regarding the reaction from the audience?

The radio version aired live on October 30th, 1938. The well-known myth is that it caused widespread panic, with people in New York and across the U.S. believing that a real alien invasion was happening. It’s said that thousands fled their homes, thinking the Martians had really landed.

3) How did the New York Times report the reaction the next day?

According to The New York Times the next day, their phone lines were flooded with hundreds of calls from panicked listeners. The headline read:

“Many Flee Homes To Escape ‘Gas Raid From Mars’ – Phone Calls Swamp Police At Broadcast Of Welles Fantasy.”

They described the situation as a “wave of mass hysteria,” with people genuinely believing an alien invasion was underway.

4) How did author Brad Schwartz describe the the broadcast and its reaction?

In his 2015 book, Schwartz argued that while some of the panic may have been exaggerated, it wasn’t all made up. He described it as “history’s first viral-media phenomenon” – basically, a media event that spread fast and had a huge impact, much like viral content does today.

5) Why did Orson Welles use hybrid genres and pastiche and what effect might it have had on the audience?

Welles adapted the story into a fake news broadcast, mixing styles and genres to make it feel real. By copying the format of actual radio newscasts, he blurred the lines between fiction and reality. This made the broadcast much more convincing and explains why some people believed it was real.

6) How did world events in 1938 affect the way audiences interpreted the show?

In 1938, just a month before the broadcast, Hitler signed the Munich Agreement, which made war in Europe feel unavoidable. People were already on edge, and radio bulletins interrupting normal programming were common. So when Welles used this same style for his fictional Martian invasion, audiences were more likely to take it seriously.

7) Which company broadcast War of the Worlds in 1938?

It was broadcast by CBS Radio.

8) Why might the newspaper industry have deliberately exaggerated the response to the broadcast?

Some believe that newspapers hyped up the panic to make radio look bad, since radio was becoming a serious competitor for audiences and advertising money. A New York Times editorial even said radio “has not mastered itself,” suggesting they were trying to discredit the medium.

9) Does War of the Worlds provide evidence to support the Frankfurt School's Hypodermic Needle theory?

Yes, it’s often used as an example of the Hypodermic Needle (or Syringe) Theory, which suggests that media messages are directly injected into a passive audience’s minds. People in the 1930s, unfamiliar with the tricks of radio, may have believed what they heard without questioning it. But this theory is seen as outdated now, especially in today’s more media-literate world.

10) How might Gerbner's cultivation theory be applied to the broadcast?

Gerbner’s theory suggests that long-term exposure to media can shape how people see the world. At the time, people were used to radio bulletins breaking into shows with real news, especially about the looming war in Europe. So when Welles used this format, it felt real and believable to listeners, showing how media habits can affect our perception.

11) Applying Hall's Reception Theory, what could be the preferred and oppositional readings of the original broadcast?

The preferred reading would be that it’s just a clever and entertaining drama, as Welles intended. But some might have had an oppositional reading, seeing it as irresponsible or even dangerous, especially if they were frightened by it. Others might have a negotiated reading – understanding it was fiction but still thinking it went too far given the tense global climate.

12) Do media products still retain the ability to fool audiences as it is suggested War of the Worlds did in 1938? Has the digital media landscape changed this?

It’s harder now to trick people with the same kind of broadcast because most people want proof before they believe something. But with the rise of AI and fake images, videos, and deepfakes, it’s still possible for fake news to spread. So while we’re more sceptical today, digital technology has created new ways to mislead people.

Media Magazine article on War of the Worlds

Read this excellent article on War of the Worlds in Media Magazine. You can find it in our Media Magazine archive - issue 69, page 10. Answer the following questions:

1) What reasons are provided for why the audience may have been scared by the broadcast in 1938? 

Many people who tuned into the radio on the night of October 30th, 1938 were genuinely frightened – some even believed a real alien invasion was happening. Orson Welles used realistic radio techniques like breaking news bulletins, expert interviews, and public reactions (vox pops), which made the drama feel authentic. He also set the story in real places like New Jersey, which added to the realism. Although the broadcast included a disclaimer at the beginning and end to say it was fiction, many people missed it, and Welles hadn’t intended to cause panic.

2) How did newspapers present the story? 

Newspapers reported the broadcast as a deliberate hoax, suggesting that Welles and the producers had tried to trick the public. They used the event to highlight what they saw as the dangerous power of radio and pushed the idea that the new medium was irresponsible and potentially harmful.

3) How does the article describe the rise of radio? 

When radio became commercially popular in the 1920s, many people – especially those involved in print media – were worried that it would take over and replace newspapers and magazines. It was seen as a major threat to traditional media.

4) What does the article say about regulation of radio in the 1930s? 

At the time, there was a lot of concern about how radio might affect society, especially young people. Many older people were suspicious of radio’s influence and worried about its lack of regulation. They feared that uncensored radio content could have a negative impact on public behaviour and values.

5) How does the article apply media theories to the WOTW? Give examples.

The article links the broadcast to George Gerbner’s Cultivation Theory, which suggests that repeated exposure to media messages can shape the way we think and respond. In this case, the legend of War of the Worlds has been kept alive and even grown over time because of how often it’s been repeated and retold in the media.

6) Look at the box on page 13 of real newspaper headlines. Pick out two and write them here - you could use these in an exam answer.

Radio Fake Scares Nation

Fake Radio War Stirs Terror

A/A* Extension tasks: Analysis and opinion questions

1) Why do you think the 1938 broadcast of War of the Worlds has become such a significant moment in media history?

It’s seen as a turning point because it showed how powerful and believable the media could be. The fact that a fictional story, told using realistic radio news styles, could cause real panic made people realise how easily audiences could be influenced

2) War of the Worlds feels like a 1938 version of 'fake news'. But which is the greater example of fake news - Orson Welles's use of radio conventions to create realism or the newspapers exaggerating the audience reaction to discredit radio?

While Welles used fiction creatively, the newspapers arguably pushed the bigger “fake news” angle. They exaggerated the public’s panic to make radio look dangerous, partly because it threatened their influence. So in that sense, the media’s reaction to the show may have been more misleading than the broadcast itself.

3) Do you agree with the Frankfurt School's Hypodermic Needle theory? If not, was there a point in history audiences were more susceptible to believing anything they saw or heard in the media?

Not entirely. Today, most people are more media savvy and don’t believe everything they hear. But in the 1930s, audiences were less familiar with radio conventions and more trusting of what they heard on air, so they were more likely to accept things at face value.

4) Has the digital media age made the Hypodermic Needle model more or less relevant? Why?

It’s less relevant in some ways because audiences now have access to multiple sources and can fact-check information. But at the same time, the internet spreads misinformation very quickly like conspiracy theories or deepfakes so some people still absorb media messages uncritically.

5) Do you agree with George Gerbner's Cultivation theory that suggests exposure to the media has a gradual but significant effect on audience's views and beliefs? Give examples to support your argument.

Yes, to an extent. Constant exposure to certain types of media can definitely shape people’s views over time. For example, people who watch a lot of crime dramas may start to believe the world is more dangerous than it actually is a key idea in Gerbner’s research known as “mean world syndrome.”

6) Is Gerbner's Cultivation theory more or less valid today than it would have been in 1938? Why?

It’s arguably more valid today because media is everywhere from social media to 24-hour news. We’re exposed to more repeated messages than ever, which can influence our beliefs over time, even if we don’t notice it. Back in 1938, people had fewer media sources and less constant exposure.