Divided Lenses Michael Berry, Chiho Sawada / Michael Berry, Chiho Sawada
2016, 20160131, 2016-01-31
eBook
Divided Lenses: Screen Memories of War in East Asia is the first attempt to explore how the tumultuous years between 1931 and 1953 have been recreated and renegotiated in cinema. This period saw ...traumatic conflicts such as the Sino-Japanese War, the Pacific War, and the Korean War, and pivotal events such as the Rape of Nanjing, Pearl Harbor, the Battle of Iwo Jima, and the bombings of Hiroshima and Nagasaki, all of which left a lasting imprint on East Asia and the world. By bringing together a variety of specialists in the cinemas of East Asia and offering divergent yet complementary perspectives, the book explores how the legacies of war have been reimagined through the lens of film.
This turbulent era opened with the Mukden Incident of 1931, which signaled a new page in Japanese militaristic aggression in East Asia, and culminated with the Korean War (1950-1953), a protracted conflict that broke out in the wake of Japan's post-World War II withdrawal from Korea. Divided Lenses explores the ways in which events of the intervening decades have continued to shape politics and popular culture throughout East Asia and the world. The essays in part I examine historical trends at work in various "national" cinemas, including China, Taiwan, Japan, Korea, and the United States. Those in part 2 focus on specific themes present in the cinema portraying this period-such as comfort women in Chinese film, the Nanjing Massacre, or nationalism-and how they have been depicted or renegotiated in contemporary films. Of particular interest are contributions drawing from other forms of screen culture, such as television and video games.
Divided Lenses builds on the growing interest in East Asian cinema by examining how these historic conflicts have been imagined, framed, and revisited through the lens of cinema and screen culture. It will interest later generations living in the shadow of these events, as well as students and scholars in the fields of cinema studies, cultural studies, cold war studies, and World War II history.
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 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.
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.
The story and analysis of the Calling Blighty series of films made by the Combined Kinematograph Service in Burma and India between 1943 and 1946. These are remarkable and moving documents, a one-way ...Skype of their day, where men - and a very few women - sent spoken messages home to be shown to families and sweethearts in local cinemas. 42 illus.
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)
