Various definitions of propaganda exist. According to the more extensive of
these much of the persuasive messaging qualifies. However, sometimes a
distinction is made between "white" and "black" propaganda (the latter is
often equated with disinformation), although the line isn't totally clear.
"White" propaganda is often enough found in communications of all kinds in
"the West", be it in government, party, or corporate ones. "Black" propaganda, less so, but sure enough there are [famous] cases... (Also, some "white" propaganda producers reject[ed] the terminology as applying to them.)
White propaganda comes from a source that is identified correctly, and
the information in the message tends to be accurate. This is what one hears
on Radio Moscow and VOA during peacetime. Although what listeners hear
is reasonably close to the truth, it is presented in a manner that attempts to
convince the audience that the sender is the “good guy” with the best ideas
and political ideology. White propaganda attempts to build credibility with
the audience, for this could have usefulness at some point in the future.
National celebrations, with their overt patriotism and regional chauvinism,
can usually be classified as white propaganda. [...]
When the legendary
film director John Ford assumed active duty as a lieutenant commander
in the U.S. Navy and chief of the Field Photographic Branch of
the Office of Strategic Services during World War II, he was asked by his
editor, Robert Parrish, if his film, The Battle of Midway, was going to be a
propaganda film. After a long pause, Ford replied, “Don’t you ever let me
hear you use that word again in my presence as long as you’re under my
command” (Doherty, 1993, pp. 25–26). Ford had filmed the actual battle
of Midway, but he also included flashbacks of an American family at home
that implied that an attack on them was an attack on every American. Ford
designed the film to appeal to the American people to strengthen their
resolve and belief in the war effort, but he resisted the idea of making films
for political indoctrination. According to our definition, The Battle of Midway
was a white propaganda film, for it was neither deceitful nor false, the
source was known, but it shaped viewer perceptions and furthered the
desired intent of the filmmaker to vilify the enemy and encourage American
patriotism. [...]
Black propaganda is when the source is concealed or credited to a false
authority and spreads lies, fabrications, and deceptions. Black propaganda is
the “big lie,” including all types of creative deceit. Joseph Goebbels, Hitler’s
propaganda minister, claimed that outrageous charges evoke more belief
than milder statements that merely twist the truth slightly (Bogart, 1995,
p. xii). During World War II, prior to Hitler’s planned invasion of Britain, a
radio station known as “The New English Broadcasting Station,” supposedly
run by discontented British subjects, ran half-hour programs throughout
the day, opening with “Loch Lomond” and closing with “God Save the
King.” The station’s programming consisted of “war news.” This was
actually a German undercover operation determined to reduce the morale of
the British people throughout the Battle of Britain. [...]
Side note here, although it's not mentioned in the book, the British
engaged in similar tactics with the help of exilee German speakers mounting fake personas on
radio transmissions designed to appear as originating from inside Germany.
Even allies target friendly nations with black propaganda. British intelligence
operations attempted to manipulate the United States to go to war
in the 2 years before Pearl Harbor was attacked by the Japanese. British
Security Coordination (BSC) established itself in New York City’s Rockefeller
Center for covert action techniques. They wrote stories that were fed to the
New York Herald Tribune about Nazi spies in America and infiltrated
WRUL, a radio station in New York. BSC subsidized the radio station and
furnished it with material for news bulletins and specially prepared scripts
for talks and commentaries. One example was a propaganda campaign by
the British to deter Spain from entering the war on Germany’s side. Because
the radio station had an ethics standard and a rule against broadcasting
material that had not appeared in the American press, the BSC inserted its
own material into friendly newspapers and then quoted it for radio broadcasts.
BSC also conducted a campaign against German-controlled corporations
in the United States by placing articles in newspapers and magazines,
organizing protest meetings, and bringing picket lines to certain properties
belonging to I. G. Farben Corporation. The British activities were discovered
after the bombing of Pearl Harbor when the U.S. State Department
pronounced that “British intelligence operations in America were out of control
and demanded that offensive covert operations end” (Ignatius, 1989,
pp. 9–11).
Gray propaganda is somewhere between white and black propaganda.
The source may or may not be correctly identified, and the accuracy of the
information is uncertain. In 1961, when the Bay of Pigs invasion took place
in Cuba, the VOA moved over into the gray area when it denied any U.S.
involvement in the CIA-backed activities. In 1966–1967, Radio Free Europe
was organized, financed, and controlled by the CIA, which publicly denied
any connection. A fund appeal on American television, radio, and mail indicated
that Radio Free Europe was dependent on voluntary contributions,
known as “truth dollars.” The actual purpose of the appeal was to fortify
the deception and dispel rumors about a CIA relationship (Barnouw, 1978,
p. 143). [...]
Parry-Giles (1996), by reviewing internal documents of the Truman and
Eisenhower presidencies, revealed how the U.S. government used the domestic
news media to propagandize the American public during the Cold War
by giving journalists the texts to be published in the newspapers in the 1940s
and 1950s. By controlling the content and favoring journalists who cooperated,
the government covertly disseminated propaganda to a domestic audience.
This example of gray propaganda expands the definition to include,
according to Parry-Giles, the attribution of the source to a nonhostile source
(p. 53). [...]
Gray propaganda is not limited to governments. Companies that distort
statistics on annual reports, advertising that suggests a product will achieve
results that it cannot, films that are made solely for product placement, and
television evangelists who personally keep the money they solicit for religious
causes all tend to fall in the gray propaganda category.
Another term used to describe propaganda is disinformation. Disinformation
is usually considered black propaganda because it is covert and uses
false information. In fact, the word disinformation is a cognate for the
Russian dezinformatsia, taken from the name of a division of the KGB
devoted to black propaganda.
Disinformation means “false, incomplete, or misleading information that
is passed, fed, or confirmed to a targeted individual, group, or country”
(Shultz & Godson, 1984, p. 41). It is not misinformation that is merely misguided
or erroneous information. Disinformation is made up of news stories
deliberately designed to weaken adversaries and planted in newspapers by
journalists who are actually secret agents of a foreign country. The stories
are passed off as real and from credible sources. Long before the Cold War,
a New York Times journalist successfully circulated stories that portrayed
the Soviet Union in a positive light. Walter Duranty, the Times Moscow correspondent,
was an active agent of Soviet propaganda and disinformation.
He reported false stories about Josef Stalin and distorted and suppressed
information. He was awarded the Pulitzer Prize for correspondence in 1932.
In 1933, when Stalin conducted a savage campaign for collective farming
in the Ukraine that resulted in widespread famine and more than 6 million
deaths, Duranty denied the existence of the famine in his reports. He is still
on the list of Pulitzer Prize winners, but a subcommittee of the Pulitzer board
is reviewing his award with the possibility of revoking it (Rutten, 2003).
-- Jowett & O'Donnell, Propaganda & Persuasion
I'm sure some can think of more recent examples of either kind... In fact the 1940-1950 "playbook" was repeated almost to the letter half
a century later (same source, chapter 7)...
On April 20, 2008, an article titled “Behind TV Analysts, Pentagon’s Hidden
Hand” appeared in the New York Times. Written by David Barstow after a
lengthy investigation of more than 8,000 documents, the article exposed
details about how the Bush administration, and more specifically the
Pentagon, had secretly set about creating a propaganda “Trojan horse” to
influence the public debate about the conflict in Iraq. This effort, titled “The
Pentagon Military Analyst Program,” was launched in early 2002, and its
objective was to recruit “key influentials” to help sell a wary public on “a
possible invasion of Iraq.” The primary goal of the operation was to spread
the administration’s talking points on Iraq by briefing retired commanders
for network and cable television appearances, where they were presented as
independent analysts. One of the participants, a former NBC military analyst
Kenneth Allard, called the effort “psyops on steroids.” [...]
During the program, the Pentagon recruited more than 75 retired officers,
although some participated only briefly. The largest contingent was affiliated
with Fox News, followed by NBC and CNN, but analysts from CBS and
ABC were also included. They contributed to radio talk shows and wrote
op-ed pieces as well. Within the documents uncovered by the New York
Times, this group was referred to as “message force multipliers.” This was
the group of hand-selected military analysts who were tasked with implementing
this propaganda strategy. [...]
The primary technique for implementing this propaganda campaign was
simple. These “voices of authority” were given extensive briefings by highranking
officials, provided with specific talking points, and were assigned to
various media outlets. The fact that they were given access to the government
was a major factor in their extensive use by the television networks,
because they provided information, albeit specifically prepared, that was
otherwise unavailable. [...]
However,
as the situation in Iraq deteriorated after 2004, and the vision of a triumphant,
quick, and easy “war of liberation” faded, it became increasingly difficult to
continue to push a positive perspective in the face of progressively negative
coverage provided by “real” journalists. Much like what had happened in the
Vietnam War, the propagandistic talking points were overwhelmed by the pictures
of the chaos in Iraq being shown on television screens all day long.
The analysts were afraid that if they spoke the truth, that they would lose
their precious access to the Pentagon, and thus, for many of them, run the
risk of jeopardizing potential lucrative contracts. One analyst, quoted by
Barstow, said that he had at times held his tongue on television for fear that
“some four-star would call up and say, ‘Kill the contract.’” He said that he
believed Pentagon officials misled the analysts about the progress of Iraq’s
security forces, noting that, “I know a snow job when I see one.” However,
he did not share this view on television.
The technique of trading access to information for favorable reporting
(even when no overt monetary payments to the mouthpieces is involved), aka
"access journalism" is "tried and true" in other countries, e.g. Japan]--sometimes,
the demand/trade is quite overtly made. The practice is seen by some as part and parcel of propaganda.
In the more totalitarian societies, this basically takes the form that
critical press simply doesn't exist or is more severely marginalized e.g.
by threatening it with license suspensions, investigations etc.
Following some [Congressional] debates in the aftermath of WWII, from which Sen. Fulbright is sometimes quoted as saying that
there is something basically unwise and undemocratic about a system which taxes the public to
finance a propaganda campaign aimed at persuading the same taxpayers that they must spend
more tax dollars to subvert their independent judgment,
(and likewise journalist) state-sponsored propaganda is fairly frowned upon within the United States and some legislation--the Smith–Mundt Act--was put in place to prohibit VOA from broadcasting (specifically) to Americans, but the advent of the internet made those restrictions somewhat obsolete, and the legislation was "modernized" in 2012.
And having said this and knowing that in a number of European countries public television exists and has a non-trivial audience, I'm reminded of the question here on why e.g. the BBC is not (officially) considered/labelled agent of a foreign state in the US.