Shell Shock Cinema explores how the classical German cinema of the Weimar Republic was haunted by the horrors of World War I and the trauma of Germany's humiliating defeat. In this exciting new book, ...Anton Kaes argues that masterworks such as The Cabinet of Dr. Caligari, Nosferatu, The Nibelungen, and Metropolis, even though they do not depict battle scenes or soldiers in combat, engaged the war and registered its tragic aftermath. These films reveal a wounded nation in post-traumatic shock, reeling from a devastating defeat that it never officially acknowledged, let alone accepted.
Why has a fascination with fascism re-emerged after the Cold War? What is its cultural function now, in an era of commemoration? Focusing particularly on the British context, this study offers the ...first analysis of contemporary popular and literary fiction, film, TV and art exhibitions about Nazis and Nazism. Petra Rau brings this material into dialogue with earlier responses to fascism and demonstrates how, paradoxically, Nazism has been both mediated and mythologised to the extent that it now often replaces a critical engagement with actual, violent history.
In spite of the growing literature on discourse analysis, the relationship of discourse to violent/non-violent outcomes of conflict is an under-researched area. This book combines theories on ethnic ...conflict, identity construction and discourse analysis with a comprehensive and inclusive survey of the countries of the former Yugoslavia. It presents an understanding of the interrelationship between 'words' and 'deeds' grounded through an extensively close analysis of film, television and newspapers samples taken from the period. This combination of ground-breaking applications of theory with detailed empirical case studies will make Media Discourse and the Yugoslav Conflicts of key interest to scholars across a range of social sciences including sociology, discourse analysis, media, conflict and peace studies as well as those concerned with ethnopolitical conflict.
Media, memory, and the First World War Williams, David
Media, memory, and the First World War,
c2009, 20090401, 2014, 2009, 2014-05-14, 2009-04-01, 20090101, Letnik:
48, 48.
eBook
Of interest to historians, classicists, media and digital theorists, literary scholars, museologists, and archivists, Media, Memory, and the First World War is a comparative study that shows how the ...dominant mode of communication in a popular culture - from oral traditions to digital media - shapes the structure of memory within that culture.
Cartoons in Hard Times provides a comprehensive analysis of the short subject animation released by the Walt Disney and Warner Brothers from 1932 and 1945, one of the most turbulent periods in Unites ...States history. Through a combination of content analysis, historical understanding and archival research, this book sheds new light on a hitherto unexplored area of animation, suggesting the ways in which Disney and Warner Brothers animation engaged with historical, social, economic and political changes in this era. The book also traces the development of animation into a medium fit for propaganda in 1941 and the changes in characters, tone, music and narrative that took place to facilitate this transition. Animation transformed in this era from a medium of entertainment, to a socio-political commentator before finally undertaking government sponsored propaganda during the Second World War. N.B. Please ensure that any images originally supplied in colour are supplied in greyscale for print deliverables (print and POD PDFs) and colour for all others (including eBook and XML).
World War II coincided with cinema's golden age. Movies now considered classics were created at a time when all sides in the war were coming to realize the great power of popular films to motivate ...the masses. Through multinational research, One World, Big Screen reveals how the Grand Alliance--Britain, China, the Soviet Union, and the United States--tapped Hollywood's impressive power to shrink the distance and bridge the differences that separated them. The Allies, M. Todd Bennett shows, strategically manipulated cinema in an effort to promote the idea that the United Nations was a family of nations joined by blood and affection.
In these two volumes of original essays, scholars from around the world address the history of British colonial cinema stretching from the emergence of cinema at the height of imperialism, to moments ...of decolonization andthe ending of formal imperialism in the post-Second World War.
In this original and engaging work, author Kent Puckett looks at how British filmmakers imagined, saw, and sought to represent its war during wartime through film. The Second World War posed unique ...representational challenges to Britain’s filmmakers. Because of its logistical enormity, the unprecedented scope of its destruction, its conceptual status as total, and the way it affected everyday life through aerial bombing, blackouts, rationing, and the demands of total mobilization, World War II created new, critical opportunities for cinematic representation.
Beginning with a close and critical analysis of Britain’s cultural scene, War Pictures examines where the historiography of war, the philosophy of violence, and aesthetics come together. Focusing on three films made in Britain during the second half of the Second World War—Michael Powell and Emeric Pressburger’s The Life and Death of Colonel Blimp (1943), Lawrence Olivier’s Henry V (1944), and David Lean’s Brief Encounter (1945)—Puckett treats these movies as objects of considerable historical interest but also as works that exploit the full resources of cinematic technique to engage with the idea, experience, and political complexity of war. By examining how cinema functioned as propaganda, criticism, and a form of self-analysis, War Pictures reveals how British filmmakers, writers, critics, and politicians understood the nature and consequence of total war as it related to ideas about freedom and security, national character, and the daunting persistence of human violence. While Powell and Pressburger, Olivier, and Lean developed deeply self-conscious wartime films, their specific and strategic use of cinematic eccentricity was an aesthetic response to broader contradictions that characterized the homefront in Britain between 1939 and 1945. This stylistic eccentricity shaped British thinking about war, violence, and commitment as well as both an answer to and an expression of a more general violence.
Although War Pictures focuses on a particularly intense moment in time, Puckett uses that particularity to make a larger argument about the pressure that war puts on aesthetic representation, past and present. Through cinema, Britain grappled with the paradoxical notion that, in order to preserve its character, it had not only to fight and to win but also to abandon exactly those old decencies, those “sporting-club rules,” that it sought also to protect.
Enables a reckoning with the legacy of the Forgotten War
through literary and cinematic works of cultural
memory
Though often considered "the forgotten war," lost between the end
of World War II and ...the start of the Cold War, the Korean War was,
as Daniel Y. Kim argues, a watershed event that fundamentally
reshaped both domestic conceptions of race and the interracial
dimensions of the global empire that the United States would go on
to establish. He uncovers a trail of cultural artefacts that speaks
to the trauma experienced by civilians during the conflict but also
evokes an expansive web of complicity in the suffering that they
endured.
Taking up a range of American popular media from the 1950s, Kim
offers a portrait of the Korean War as it looked to Americans while
they were experiencing it in real time. Kim expands this archive to
read a robust host of fiction from US writers like Susan Choi,
Rolando Hinojosa, Toni Morrison, and Chang-rae Lee, and the Korean
author Hwang Sok-yong. The multiple and ongoing historical
trajectories presented in these works testify to the resurgent
afterlife of this event in US cultural memory, and of its lasting
impact on multiple racialized populations, both within the US and
in Korea. The Intimacies of Conflict offers a robust,
multifaceted, and multidisciplinary analysis of the pivotal-but
often unacknowledged-consequences of the Korean War in both
domestic and transnational histories of race.
Vietnam War on Film illustrates how to employ film as a teaching tool. It also stands on its own as an account of the war and the major films that have depicted it. Even for many people who ...experienced the Vietnam War first hand, memories of that conflict have often been shaped by the popular films that depicted it: The Quiet American, The Green Berets, The Deer Hunter, Coming Home, Platoon, Full Metal Jacket, and Apocalypse Now, among others. Vietnam War on Film examines how the war is portrayed through a selection of ten iconic films that represent the war through dramatization and storytelling as opposed to through documentary footage. The book includes an introduction to the war's history and a timeline of events, followed by ten chapters, each of which focuses on a specific Vietnam War movie. Chapters offer a uniquely detailed level of historical context for the films, weighing their depiction of events against the historical record and evaluating how well or how poorly those films reflected the truth and shaped public memory and discourse over the war. A final section of "Resources" provides a comprehensive annotated bibliography of print and electronic sources to aid students and teachers in further research.
