This book examines in depth for the first time the origins, development, and reception of the major dramatic screen representations of 'The Few' in the Battle of Britain produced over the past ...seventy years.
In American visual culture, the 1930s and 1940s were a key transitional period shaped by the era of modernism and the global confrontation of World War II. Christof Decker demonstrates that the war ...and its iconography of destruction challenged visual artists to find new ways of representing its consequences. Dealing with trauma and war crimes led to the emergence of complex aesthetic forms and media crossovers. Decker shows that the 1940s were a pivotal period for the creation of horrific yet also innovative representations that boosted American visual modernism and set the stage for debates about the ethics of visual culture in the post-9/11 era.
In one of the most iconic images from World War II, a Russian
soldier raises a red flag atop the ruins of the German Reichstag on
April 30, 1945. Known as the Victory Banner, this piece of fabric
has ...come to symbolize Russian triumph, glory, and patriotism.
Facsimiles are used in public celebrations all over the country,
and an exact replica is the centerpiece in the annual Victory
Parade in Moscow's Red Square. The Victory Banner Over the
Reichstag examines how and why this symbol was created, the
changing media of its expression, and the contested evolution of
its message. From association with Stalinism and communism to its
acquisition of Russian nationalist meaning, Jeremy Hicks
demonstrates how this symbol was used to construct a collective
Russian memory of the war. He traces how the Soviets, and then
Vladimir Putin, have used this image and the banner itself to build
a remarkably powerful mythology of Russian greatness.
With Flags of Our Fathers (2006) and Letters from Iwo Jima (2006), Clint Eastwood made a unique contribution to film history, being the first director to make two films about the same event. ...Eastwood's films examine the battle over Iwo Jima from two nations' perspectives, in two languages, and embody a passionate view on conflict, enemies, and heroes. Together these works tell the story behind one of history's most famous photographs, Leo Rosenthal's "Raising the Flag on Iwo Jima." In this volume, international scholars in political science and film, literary, and cultural studies undertake multifaceted investigations into how Eastwood's diptych reflects war today. Fifteen essays explore the intersection among war films, American history, and Japanese patriotism. They present global attitudes toward war memories, icons, and heroism while offering new perspectives on cinema, photography, journalism, ethics, propaganda, war strategy, leadership, and the war on terror.
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 importan.
This is the definitive account of how America's film industry
remembered and reimagined World War I from the Armistice in 1918 to
the outbreak of World War II in 1939. Based on detailed archival
...research, Michael Hammond shows how the war and the sociocultural
changes it brought made their way into cinematic stories and
images. He traces the development of the war's memory in films
dealing with combat on the ground and in the air, the role of women
behind the lines, returning veterans, and through the social
problem and horror genres. Hammond first examines movies that dealt
directly with the war and the men and women who experienced it. He
then turns to the consequences of the war as they played out across
a range of films, some only tangentially related to the conflict
itself. Hammond finds that the Great War acted as a storehouse of
motifs and tropes drawn upon in the service of an industry actively
seeking to deliver clearly told, entertaining stories to paying
audiences. Films analyzed include The Big Parade ,
Grand Hotel , Hell's Angels , The Black
Cat , and Wings . Drawing on production records, set
designs, personal accounts, and the advertising and reception of
key films, the book offers unique insight into a cinematic
remembering that was a product of the studio system as it emerged
as a global entertainment industry.
The fact that media technologies influence our feelings seems obvious. But how do digital cameras or MP3 players change how we perceive, feel, and emotionally assess the world? This book examines the ...connection between media technology and affect on the level of the poetic patterns of audiovisual images, combining rigorous methods of film analysis with praxeological and genre-theoretical approaches.
Return to Troy Winkler, Edited By Martin M
2015, Letnik:
5
eBook
Return to Troy examines the Director's Cut of Troy: portrayals of gods, heroes, and the fall of Troy; supposed errors; cinematic epic technique; and the Iliad in twentieth-century culture. Unique ...features include an interview with the director and behind-the-scenes photographs.
Im Kontext der kulturwissenschaftlichen Gedächtnisforschung widmet sich diese interdisziplinär ausgerichtete Reihe dem Verhältnis von Medien und kultureller Erinnerung. Die hier vorgestellten Studien ...behandeln die ganze Bandbreite der durch Medien konstruierten, tradierten und verbreiteten Erinnerung. Schrift und Bild, das Kino und die 'neuen' digitalen Medien, Intermedialität, Transmedialität und Remediation sowie die sozialen, zunehmend transnationalen und transkulturellen, Kontexte der mediatisierten Erinnerung gehören zu den Forschungsinteressen der Reihe. Ziel ist es, eine internationale Plattform für die interdisziplinäre Medien- und Gedächtnisforschung zu schaffen. Eingereichte Manuskripte werden im peer review Verfahren durch externe Experten begutachtet. Den Herausgebern, Astrid Erll (Goethe-Universität Frankfurt am Main) und Ansgar Nünning (Justus-Liebig-Universität Gießen) ist ein internationaler Beirat aus renommierten Wissenschaftlern assoziiert: * Aleida Assmann (Universität Konstanz) * Mieke Bal (University of Amsterdam) * Vita Fortunati (University of Bologna) * Richard Grusin (University of Wisconsin-Milwaukee) * Udo Hebel (Universität Regensburg) * Andrew Hoskins (University of Glasgow) * Wulf Kansteiner (Binghamton University) * Alison Landsberg (George Mason University) * Claus Leggewie (Kulturwissenschaftliches Institut Essen) * Jeffrey Olick (University of Virginia) * Susannah Radstone (University of South Australia) * Ann Rigney (Utrecht University) * Michael Rothberg (University of Illinois) * Werner Sollors (Harvard University) * Frederic Tygstrup (University of Copenhagen) * Harald Welzer (Kulturwissenschaftliches Institut Essen)
Over the last five years, a cycle of films has emerged addressing the ongoing Iraq conflict. Some became well-known and one of them, The Hurt Locker, won a string of Oscars. But many others ...disappeared into obscurity. What is it about these films that led Variety to dub them a 'toxic genre'? Martin Barker analyses the production and reception of these recent Iraq war films. Among the issues he examines are the borrowing of soldiers’ YouTube styles of self-representation to generate an ‘authentic’ Iraq experience, and how they take refuge in ‘apolitical’ post-traumatic stress disorder. Barker also looks afresh at some classic issues in film theory: the problems of accounting for film ‘failures’, the shaping role of production systems, the significance of genre-naming and the impact of that 'toxic' label. A 'Toxic Genre' is fascinating reading for film studies students and anyone interested in cinema's portrayal of modern warfare.
