The World War II Combat Film
Author | : Jeanine Basinger |
Publisher | : Wesleyan University Press |
Total Pages | : 402 |
Release | : 2003-05-15 |
Genre | : History |
ISBN | : 9780819566232 |
Lively, comprehensive analysis of World War II movies.
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Author | : Jeanine Basinger |
Publisher | : Wesleyan University Press |
Total Pages | : 402 |
Release | : 2003-05-15 |
Genre | : History |
ISBN | : 9780819566232 |
Lively, comprehensive analysis of World War II movies.
Author | : John Whiteclay Chambers II |
Publisher | : Oxford University Press |
Total Pages | : 204 |
Release | : 1996-10-10 |
Genre | : Performing Arts |
ISBN | : 0199880115 |
The immediacy and perceived truth of the visual image, as well as film and television's ability to propel viewers back into the past, place the genre of the historical film in a special category. War films--including antiwar films--have established the prevailing public image of war in the twentieth century. For American audiences, the dominant image of trench warfare in World War I has been provided by feature films such as All Quiet on the Western Front and Paths of Glory. The image of combat in the Second World War has been shaped by films like Sands of Iwo Jima and The Longest Day. And despite claims for the alleged impact of widespread television coverage of the Vietnam War, it is actually films such as Apocalypse Now and Platoon which have provided the most powerful images of what is seen as the "reality" of that much disputed conflict. But to what degree does history written "with lightning," as Woodrow Wilson allegedly said, represent the reality of the past? To what extent is visual history an oversimplification, or even a distortion of the past? Exploring the relationship between moving images and the society and culture in which they were produced and received, World War II, Film, and History addresses the power these images have had in determining our perception and memories of war. Examining how the public memory of war in the twentieth century has often been created more by a manufactured past than a remembered one, a leading group of historians discusses films dating from the early 1930s through the early 1990s, created by filmmakers the world over, from the United States and Germany to Japan and the former Soviet Union. For example, Freda Freiberg explains how the inter-racial melodramatic Japanese feature film China Nights, in which a manly and protective Japanese naval officer falls in love with a beautiful young Chinese street waif and molds her into a cultured, submissive wife, proved enormously popular with wartime Japanese and helped justify the invasion of China in the minds of many Japanese viewers. Peter Paret assesses the historical accuracy of Kolberg as a depiction of an unsuccessful siege of that German city by a French Army in 1807, and explores how the film, released by Hitler's regime in January 1945, explicitly called for civilian sacrifice and last-ditch resistance. Stephen Ambrose contrasts what we know about the historical reality of the Allied D-Day landings in Normandy on June 6, 1944, with the 1962 release of The Longest Day, in which the major climactic moment in the film never happened at Normandy. Alice Kessler-Harris examines The Life and Times of Rosie the Riveter, a 1982 film documentary about women defense workers on the American home front in World War II, emphasizing the degree to which the documentary's engaging main characters and its message of the need for fair and equal treatment for women resonates with many contemporary viewers. And Clement Alexander Price contrasts Men of Bronze, William Miles's fine documentary about black American soldiers who fought in France in World War I, with Liberators, the controversial documentary by Miles and Nina Rosenblum which incorrectly claimed that African-American troops liberated Holocaust survivors at Dachau in World War II. In today's visually-oriented world, powerful images, even images of images, are circulated in an eternal cycle, gaining increased acceptance through repetition. History becomes an endless loop, in which repeated images validate and reconfirm each other. Based on archival materials, many of which have become only recently available, World War II, Film, and History offers an informative and a disturbing look at the complex relationship between national myths and filmic memory, as well as the dangers of visual images being transformed into "reality."
Author | : Stuart Bender |
Publisher | : Cambridge Scholars Publishing |
Total Pages | : 340 |
Release | : 2014-08-11 |
Genre | : Performing Arts |
ISBN | : 1443865494 |
Film Style and the World War II Combat Genre is a detailed examination of the stylistic means by which filmmakers depict stories of combat. The work furthers contemporary discussions by analyzing a range of World War II combat films to a degree of detail which has previously escaped critical attention. This substantial examination of cinematography, sound, editing and acting in a range of movies including Saving Private Ryan, Windtalkers, Bataan, and Objective Burma! demonstrates the importance of close attention to the textual construction of these films specifically, as well as cinematic texts more generally. The work advances the original analytic descriptions of “controlled spontaneity” and “reported realism” as theoretical concepts which explain why viewers regard certain stylistic techniques as realistic. This notion of realism is then further understood through reference to a body of research in cognitive psychology to argue that the density of audio-visual information in contemporary combat films is a significant factor in creating a sense of realism.
Author | : Clayton R. Koppes |
Publisher | : Univ of California Press |
Total Pages | : 404 |
Release | : 1990-08-16 |
Genre | : History |
ISBN | : 9780520071612 |
The little-explored story of how politics, propaganda, and profits were combined to create the drama, imagery and fantasy that was American film during World War II. 32 black-and-white photographs.
Author | : Frederick J. Duncan |
Publisher | : |
Total Pages | : 158 |
Release | : 2004 |
Genre | : Action in the North Atlantic (Motion picture) |
ISBN | : |
Author | : John Whiteclay Chambers II |
Publisher | : Oxford University Press |
Total Pages | : 204 |
Release | : 1996-10-10 |
Genre | : Performing Arts |
ISBN | : 0199728739 |
The immediacy and perceived truth of the visual image, as well as film and television's ability to propel viewers back into the past, place the genre of the historical film in a special category. War films--including antiwar films--have established the prevailing public image of war in the twentieth century. For American audiences, the dominant image of trench warfare in World War I has been provided by feature films such as All Quiet on the Western Front and Paths of Glory. The image of combat in the Second World War has been shaped by films like Sands of Iwo Jima and The Longest Day. And despite claims for the alleged impact of widespread television coverage of the Vietnam War, it is actually films such as Apocalypse Now and Platoon which have provided the most powerful images of what is seen as the "reality" of that much disputed conflict. But to what degree does history written "with lightning," as Woodrow Wilson allegedly said, represent the reality of the past? To what extent is visual history an oversimplification, or even a distortion of the past? Exploring the relationship between moving images and the society and culture in which they were produced and received, World War II, Film, and History addresses the power these images have had in determining our perception and memories of war. Examining how the public memory of war in the twentieth century has often been created more by a manufactured past than a remembered one, a leading group of historians discusses films dating from the early 1930s through the early 1990s, created by filmmakers the world over, from the United States and Germany to Japan and the former Soviet Union. For example, Freda Freiberg explains how the inter-racial melodramatic Japanese feature film China Nights, in which a manly and protective Japanese naval officer falls in love with a beautiful young Chinese street waif and molds her into a cultured, submissive wife, proved enormously popular with wartime Japanese and helped justify the invasion of China in the minds of many Japanese viewers. Peter Paret assesses the historical accuracy of Kolberg as a depiction of an unsuccessful siege of that German city by a French Army in 1807, and explores how the film, released by Hitler's regime in January 1945, explicitly called for civilian sacrifice and last-ditch resistance. Stephen Ambrose contrasts what we know about the historical reality of the Allied D-Day landings in Normandy on June 6, 1944, with the 1962 release of The Longest Day, in which the major climactic moment in the film never happened at Normandy. Alice Kessler-Harris examines The Life and Times of Rosie the Riveter, a 1982 film documentary about women defense workers on the American home front in World War II, emphasizing the degree to which the documentary's engaging main characters and its message of the need for fair and equal treatment for women resonates with many contemporary viewers. And Clement Alexander Price contrasts Men of Bronze, William Miles's fine documentary about black American soldiers who fought in France in World War I, with Liberators, the controversial documentary by Miles and Nina Rosenblum which incorrectly claimed that African-American troops liberated Holocaust survivors at Dachau in World War II. In today's visually-oriented world, powerful images, even images of images, are circulated in an eternal cycle, gaining increased acceptance through repetition. History becomes an endless loop, in which repeated images validate and reconfirm each other. Based on archival materials, many of which have become only recently available, World War II, Film, and History offers an informative and a disturbing look at the complex relationship between national myths and filmic memory, as well as the dangers of visual images being transformed into "reality."
Author | : Tanine Allison |
Publisher | : Rutgers University Press |
Total Pages | : 261 |
Release | : 2018-06-25 |
Genre | : Performing Arts |
ISBN | : 0813597528 |
The American popular imagination has long portrayed World War II as the “good war,” fought by the “greatest generation” for the sake of freedom and democracy. Yet, combat films and other war media complicate this conventional view by indulging in explosive displays of spectacular violence. Combat sequences, Tanine Allison argues, construct a counter-narrative of World War II by reminding viewers of the war’s harsh brutality. Destructive Sublime traces a new aesthetic history of the World War II combat genre by looking back at it through the lens of contemporary video games like Call of Duty. Allison locates some of video games’ glorification of violence, disruptive audiovisual style, and bodily sensation in even the most canonical and seemingly conservative films of the genre. In a series of case studies spanning more than seventy years—from wartime documentaries like The Battle of San Pietro to fictional reenactments like The Longest Day and Saving Private Ryan to combat video games like Medal of Honor—this book reveals how the genre’s aesthetic forms reflect (and influence) how American culture conceives of war, nation, and representation itself.
Author | : Thomas Patrick Doherty |
Publisher | : Columbia University Press |
Total Pages | : 396 |
Release | : 1999 |
Genre | : History |
ISBN | : 9780231116350 |
Topics include: the influence of Leni Riefenstahl; negro soldiers; depicting Vietnam in films. Films examined include: Sergeant York, Air force, Saving Private Ryan, The thin red line.
Author | : Virginia Lyman Lucas |
Publisher | : Page Publishing Inc |
Total Pages | : 122 |
Release | : 2018-11-12 |
Genre | : History |
ISBN | : 1643503189 |
This tribute to all men and women who serve their country and in particular those who sacrificed bringing about victory over tyranny in WWII, World War II at the Movies contains forty-eight movie commentaries depicting WWII major events, both in Europe and the South Pacific. In addition to reading about WWII major events in chronological order, you'll find out: What major movie star who made more than thirty-five Hollywood Westerns was the most decorated soldier of World War II in To Hell and Back What famous film star from the '30s and '40s who stars in Command Decision was himself a fighter pilot who flew five combat missions, including one to Germany, as an observer gunner in B-17 Flying Fortresses and left the Army Air Forces with rank of major What former US senator was a member of the 442nd Regimental Combat Team, made up of Japanese Americans who fought for their country even while battling prejudice as told in Go for Broke! What ethnic group developed an uncrackable military code based on their language and took part in every assault the US Marines conducted in the Pacific from 1942 to 1945, including Guadalcanal, Tarawa, Peleliu, and Iwo Jima