Academic literature on the topic 'Contemporary US war cinema'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Contemporary US war cinema.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Contemporary US war cinema"
1
Rio, Elena Del. "Samuel Fuller's Schizo-violent Cinema and the Affective Politics of War." Deleuze Studies 6, no. 3 (August 2012): 438–63. http://dx.doi.org/10.3366/dls.2012.0073.
Full textAbstract:
This essay begins by considering Samuel Fuller's 1963 film Shock Corridor as a model of schizo-violence – a disorganised violence that eludes the Oedipal, moralising binary of action and reaction, and instead opens up the violent action to multiple becomings outside Oedipal and nationalistic framings. Through the de-Oedipalisation of the violent events punctuating American history, Shock Corridor performs a schizoanalytic model of desire capable of giving free rein to the force of traumatic affections. The latter part of the discussion situates Fuller's film and the contemporary US military machine as diametrically opposed in their approaches to what we might call ‘the affective politics of war’. Several contemporary scenarios revolving around both actual war violence and Kathryn Bigelow's film The Hurt Locker (2008) serve to show how the schizophrenising operations of the brain itself constitute the greatest obstacle in the military's efforts to contain or repress the traumatic affections generated by violence and war.
2
Sharpe, Mani. "Gender and the politics of decolonization in early 1960s French cinema." Journal of European Studies 49, no. 2 (May 2, 2019): 163–83. http://dx.doi.org/10.1177/0047244119837478.
Full textAbstract:
In a recent monograph, Todd Shepard has implored us to examine the ways in ‘which the Algerian War modified the form and the content of debates surrounding contemporary sexuality in France’, from the nationalist revolution spearheaded by the FLN in Algeria, to the sexual paradigm shift of May ’68 (2017: 21). An important injunction, undoubtedly. But also an injunction that, as I will show, could also be inverted to examine how, in the world of cinema, the radicalization of identity politics catalysed by decolonization found itself similarly distorted by a tendency among male directors to imagine the war through the lens of their own androcentric preoccupations, fantasies and anxieties: anxieties that, in the case of Jacques Rivette’s Paris nous appartient (1961), Louis Malle’s Le Feu Follet (1963), and Jacques Dupont’s Les Distractions (1960), ricochet erratically between masochistic and misogynistic tales of impotence and carnal retribution; anxieties that subtly twist the dynamics of the decolonial debate into strange shapes, places and meanings.
3
Murillo, Mayté. "Imaginarios de la violencia en el cine mexicano contemporáneo. El caso de Miss Bala, de Gerardo Naranjo." Catedral Tomada. Revista de crítica literaria latinoamericana 5, no. 9 (January 5, 2018): 185–219. http://dx.doi.org/10.5195/ct/2017.261.
Full textAbstract:
The article reflect on the construction of the imaginary of violence in the contemporary Mexican cinema, and how the social imaginaries are connected with the filmic imaginaries. Edgar Morin's suggestion about the imaginary is crucial for this reflection, also Merleau-Ponty’s ideas about the Phenomenology of the perception. To support this aim, an analysis exercise of Miss Bala (Gerardo Naranjo, 2011 is proposed, a representative film that approach the issue of violence that was increased since the symbolic "declaration of war" to drug trafficking during Felipe Calderón government. Its aesthetic and narrative forms allow the spectator to glimpse other manifestations of violence, which go beyond visual spectacular violence, to allow us to see more intrinsic and symbolic ways, based on the Žižek approach. The present reflection can provide the reader a panoramic perspective on the role played by the cinema and its filmic imaginaries in the constitution of the social imaginaries, on how one lives, perceives, condemns and assimilates a social reality pronounced by narco violence in Mexican society.
4
Masirevic, Ljubomir. "Media and postmodern reality." Sociologija 52, no. 2 (2010): 127–40. http://dx.doi.org/10.2298/soc1002127m.
Full textAbstract:
The paper tackles the ideas of key postmodern theoreticians on the role of the media in contemporary societies. The aim is to show that according to postmodern theory the media have become the leading factor in contemporary social processes marked by the loss of sense of historical continuity in everyday human experience. Postmodern theoreticians claim that, since the media system, which has come to wholly encompass reality at the turn of this century, is unable to reclaim the past, human existence has found itself in the ceaseless schizophrenic present. Simulations of events that once were and come back to us today like a string of anachronistic media notions about the past, bring us into the state of historical amnesia. The media, and cinema above all, are the main catalyst of this process, as well as of what postmodernists call the new superficiality and shallowness of social life. Postmodern reality is characterized by a simulation of history which didn't happen; today people are exposed to pseudo-experience emerging from constant exposure to the simulacrum of historical events. In place of conclusion, Baudrillard's interpretation of the Gulf War as a virtual media event is offered.
5
Zepke, Stephen. "‘A work of art does not contain the least bit of information’: Deleuze and Guattari and Contemporary Art." Performance Philosophy 3, no. 3 (December 21, 2017): 751. http://dx.doi.org/10.21476/pp.2017.33145.
Full textAbstract:
Deleuze and Guattari’s rejection of Conceptual art is well known, and sits awkwardly with the current hegemony of ‘post-conceptual’ artistic practices. Equally awkward is Deleuze’s ontological and political dislike of photography, which produces a ‘snapshot’ or representation of becoming, placing cliched images directly into our brains, controlling our actions and reactions by denying us the power to think creatively. In Cinema 2 Deleuze will extend this argument to the new ‘electronic image’, which like Conceptual art turns the plane of composition into a ‘flatbed’ plane or ‘screen’ that simply formats information, and with it our interfaced brains. Today, conceptual practice, photography and digital technologies are all simply taken for granted by contemporary art, which is also happy to use “D&G” as well. But doesn’t Deleuze and Guattari’s thought require a more critical application? Doesn’t it demand a minor war-machine? What would this be in the case of contemporary artistic practice? Amongst various possibilities this paper will explore the sublime ramifications of a Deleuzean image of ‘thought’, and its position as the ‘immanent outside’ of art’s post-conceptual trajectory.
6
Västrik, Riho. "Constructing National Identity in Soviet Estonian Documentary Cinema: A Case Study of the Documentary Ruhnu (1965) by Andres Sööt." Baltic Screen Media Review 3, no. 1 (November 1, 2015): 4–29. http://dx.doi.org/10.1515/bsmr-2015-0021.
Full textAbstract:
Abstract This article aims to find out how Soviet Estonian documentaries constructed the national discourse in the 1960s, by focusing on the case of the 10-minute documentary Ruhnu (1965) by Andres Sööt. Ruhnu was the first Soviet Estonian documentary released after World War II that romanticised Estonian nationalism. In order to narrate the national ideals considered undesirable by the official ideology, the Soviet Estonian filmmakers often chose to portray characters embedded in the national consciousness as archetypal heroes from pre-Soviet times and the landscapes associated with them. In the desire for past times, national heroes and idealised landscapes were constructed and naturalised in a contemporary context. The article raises the question - what kind of heroes, landscapes and activities were used to construct the national identity and which elements of film language were used? The research method used, critical discourse analysis, allows us to analyse the archetypes created in the documentary and the archetypal landscapes used as a framework for the narrative.
7
Heed, Tom, and Alexander Kubyshkin. "Armageddon: Comparative Images of the Nuclear Conflict Between the United States and the Soviet Union in American Cinema." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 5 (October 2019): 250–58. http://dx.doi.org/10.15688/jvolsu4.2019.5.18.
Full textAbstract:
Introduction. Film offers a valuable mirror to reflect on how we assess our present and past. The Cold War was one of the most troubled periods in history. Two huge, wealthy, energetic, and creative societies competed in all areas. During those decades of electric change and development they faced each other with weapons of ever increasing lethality. The film industry in both countries looked at how the nuclear exchange would impact in both lands. Over the decades as the weaponry changed, as the patterns of leadership changed, as the economy of the world evolved, both nations’ film industry painted different images of what Armageddon could look like. If we compare comparable films, across similar decades, what do we learn of that era and those people? Methods and Materials. The methods used in the article are comparative, analytical and functional systematic ones. The materials used are the following: 1) five films of both cultures from different decades; 2) secondary accounts of contemporary events; 3) secondary reviews of the selected films, and 4) secondary accounts of parallel incidents. Analysis. With the complex weapons of the Cold War era we certainly need to worry about the technological imperative and the potential role of accident and unintended consequences. However, we are blessed that the doom day scenario has not yet erupted. We are most fortunate that the dire warning of many US filmmakers have not been realized. Indeed with the coming advent of AI technology and 5G communications, we may have more to fear than ever before. Results. After fifty some years of the Cold War, films continue to project the worst fears of people. As we review these films across the several decades we see constancy, the films again and again distrust technology.
8
Aitken, S. C., and L. E. Zonn. "Weir(d) Sex: Representation of Gender-Environment Relations in Peter Weir's Picnic at Hanging Rock and Gallipoli." Environment and Planning D: Society and Space 11, no. 2 (April 1993): 191–212. http://dx.doi.org/10.1068/d110191.
Full textAbstract:
Soft images of pubescent women scaling the dizzy heights of a massive phallic rock in turn-of-the-century rural Victoria, and young men matching physical prowess in the indomitable Western Australian desert as World War I rages in Europe, provide foci for two of Peter Weir's most successful early films, Picnic at Hanging Rock (1975) and Gallipoli (1981). In both these films the physical landscape is simultaneously integrated with and contrasted to the passions of young men and women. The result is an aesthetic that takes the viewer beyond the immediate narrative to a place where masculinity and femininity find expression. In this paper, transactional and psychoanalytic perspectives are used to interrogate the gender images which are portrayed in both these movies, linking them to some concepts which find currency in ecofeminism. The concern is with the individual struggle between the powerful, complex, and yet less-than-rational forces that are integral to the nature of our individual beings and the rational nature of prevailing societal values that supposedly provide us with guidance. A dynamic theory of contemporary film is implicit in our discussion of “images in motion over time through space with sequence”. These elements—along with an overlay of shape, size, scale, color, sound, and light—arc the cues that provide meaning for Weir's portrayal of wo/man-in-environmcnt relations. Suggested in this paper is a broader narrative which speaks to a postmodern sexual order and its representations in social theory and contemporary cinema. Crucial questions are raised regarding the ways that cultural identity is grounded in class and gender.
9
Monteiro, Alexandrina, and Valéria Aroeira Garcia. "Em defesa de uma desordem pedagógica: a institucionalização da infância no cinema e no cotidiano escolar." EDUCAÇÃO E FILOSOFIA 34, no. 70 (January 18, 2021): 133–54. http://dx.doi.org/10.14393/revedfil.v34n70a2020-51974.
Full textAbstract:
Em defesa de uma desordem pedagógica: a institucionalização da infância no cinema e no cotidiano escolar
Resumo: Nos livros imagem-movimento e imagem-tempo, Deleuze analisou o cinema a partir de múltiplas variações possíveis, mas privilegia a perspectiva de um pensamento no qual a articulação de imagens e signos está ligada à expressão de significado ou de uma ideia. Nessa perspectiva, o fluxo de expressão de significados entre o encontro de nossas experiências com os filmes A Guerra dos Botões e As Pequenas Flores Vermelhas, nos levou a problematizar a institucionalização da infância a partir das seguintes perguntas: O que é isso institucionalizado mundo? nós ajudamos a construir? Como se pode ser criança nessa lógica contemporânea que estrutura e institucionaliza, de maneira comercial, a rotina escolar? A hipótese que pretendemos defender é que o atual processo de institucionalização incorporado nos princípios neoliberais tende a reforçar as características narcísicas e individualistas. Diante disso, defendemos a busca de formas de resistência a esse processo que hoje chamamos de (des) ordem pedagógica.
Palavras-Chave: Neoliberalismo. Institucionalização da infância. Cinema.
In defense of a pedagogical disorder: the institutionalization of childhood in cinema and school daily life
Abstract: In the books image-motion and image-time, Deleuze analyzes cinema from multiple possible variations, but he privileges the perspective of a thought in which the articulation of images and signs is connected with the expression of meaning, or an idea. In this perspective, that is, in the flow of expression of meanings that the encounter of our experiences with the films The War of the Buttons and The Little Red Flowers led us to problematize the institutionalization of childhood from the following questions: What is this institutionalized world? do we help build? How can one be a child in this contemporary logic that structures and institutionalizes, in a commercial manner, the school routine? The hypothesis we intend to defend is that the current process of institutionalization embedded in neoliberal principles tends to reinforce narcissistic and individualistic characteristics. Given this, we defend the search for forms of resistance to this process that today we call pedagogical (dis) order.
Keywords: Neoliberalism. Institutionalization of childhood. Cinema.
En defensa de un trastorno pedagógico: la institucionalización de la infancia en el cine y la vida cotidiana escolar
Resumen: En los libros imagen-movimiento e imagen-tiempo, Deleuze analiza el cine a partir de múltiples posibles variaciones, pero privilegia la perspectiva de un pensamiento en el que la articulación de imágenes y signos está conectada con la expresión de significado, o una idea. En esta perspectiva, es decir, en el flujo de expresión de significados que el encuentro de nuestras experiencias con las películas La guerra de los botones y Las pequeñas flores rojas nos llevó a problematizar la institucionalización de la infancia a partir de las siguientes preguntas: ¿Qué es este mundo institucionalizado? ¿Ayudamos a construir? ¿Cómo se puede ser un niño en esta lógica contemporánea que estructura e institucionaliza, de manera comercial, la rutina escolar? La hipótesis que pretendemos defender es que el proceso actual de institucionalización incrustado en los principios neoliberales tiende a reforzar las características narcisistas e individualistas. Ante esto, defendemos la búsqueda de formas de resistencia a este proceso que hoy llamamos trastorno pedagógico.
Palabras clave: Neoliberalismo. Institucionalización de la infância. Cine.
Data de registro: 11/12/2019
Data de aceite: 18/11/2020
10
Bridges, Emma, and Henry Stead. "Reception." Greece and Rome 67, no. 1 (February 28, 2020): 119–23. http://dx.doi.org/10.1017/s0017383519000317.
Full textAbstract:
Chris Davies’ Blockbusters and the Ancient World is the latest addition to a growing body of scholarly literature on cinematic receptions of antiquity. The author takes as his focus the swathe of ancient world epics produced since the 9/11 terrorist attacks in 2001, ranging from movies set in the ancient Greek world (including the 2004 films Troy and Alexander, and, from 2007, 300) to the Roman occupation of Britain – as seen in King Arthur (2004), The Last Legion (2007), Centurion (2010), and The Eagle (2011) – as well as those which concentrate on aspects of Christianity (Agora, of 2009, set in Alexandria in the early fifth century ce, as contrasted with the 2004 biblical epic The Passion of the Christ). Structured around a series of case studies of these individual films, the book undoubtedly adds a set of valuable contributions to the scholarly literature on each piece; its real strength lies, however, in the way in which the author draws comparisons between these case studies while simultaneously situating the movies within their wider historical, political, and cultural contexts. Davies’ introduction alone – with a broad overview of the development of cinematic depictions of antiquity from the birth of cinema to contemporary productions, along with definitions of key terms – provides an excellent starting point for those new to thinking about ancient world films, and a comprehensive filmography of works referenced is a useful research tool. There is much here too, however, which will be of value to those seeking more in-depth discussion. Detailed analysis of the films themselves – with attention to staging, casting, and characterization – is accompanied by discussion of critical responses and evidence from published interviews with directors and producers. The author is careful to point out that artistic products often resist straightforward interpretation, and that multiple readings of each film are possible (for example, the critical reception of a movie may infer a different relationship to contemporary politics than the stated intentions of its creative team). He also explores the development and fluidity of genres, and the ways in which several of these films hybridize more than one genre (for example, traces of the western are strongly evident in the Roman Britain epics; and The Passion of the Christ carries striking elements of the horror genre). What results is a sensitive exploration of the films’ relationship to US politics, in the particular context of the ‘War on Terror’ and the US-led invasions of Iraq and Afghanistan, which examines ways in which the films ‘have inspired allegorical and metaphorical readings in which the past has been used to contextualise, warn or parallel the present’ (209).
Dissertations / Theses on the topic "Contemporary US war cinema"
1
Fagan, Calvin. "Embodying virtual war : digital technology and subjectivity in the contemporary war film." Thesis, Queen Mary, University of London, 2017. http://qmro.qmul.ac.uk/xmlui/handle/123456789/24593.
Full textAbstract:
Addressing a perceived absence of critical attention to changes in the war film brought about by the advent of the digital, this thesis aims to construct an original study of contemporary (post-2001) US war cinema by exploring the shifting relationship between embodiment, subjectivity and digital (military-technological) mediation. In order to update the critical framework necessary for comprehending how the war film is altered by the remediation of digitised military interfaces, I draw on a highly diverse set of approaches ranging from journalistic accounts of the wars in Iraq (2003-11) and Afghanistan (2001-present), studies of military technologies from Paul Virilio to Derek Gregory and Pasi Väliaho, as well as film/media studies work on ethics and spectatorship. The corpus is similarly diverse, encompassing mainstream genre films such as Zero Dark Thirty (2012), documentaries, and gallery installations by Omer Fast and Harun Farocki, thus offering a comprehensive and inclusive portrait of contemporary cinematic trends. The thesis begins by identifying the genre's post-Vietnam turn to embodied, subjective experience and explores the continuation of this tendency through films such as The Hurt Locker (2008) and its complicity with phenomena such as journalistic embedding. Subsequently, I trace how drones and simulations radically alter conventional cinematic constructions of subjective perceptual experience through readings of Omer Fast's Five Thousand Feet is the Best (2011) and Harun Farocki's Serious Games (2009-10), noting in particular the emergence of the virtualised yet embodied 'presence' of the drone operator and the conditioning of trans-subjective, cybernetic networks via CG simulations. Finally, I turn to the remediation of various digital interfaces in films such as Redacted (2007), comparing the emergent models of military subjectivity discussed in the previous chapters with the spectatorial positions evoked by this hypermediated aesthetic.
2
St-Laurent, Kelly. "Weapon of war : representations of sexual violence in contemporary American war cinema." Thesis, University of British Columbia, 2015. http://hdl.handle.net/2429/54166.
Full textAbstract:
Sexual violence in war can no longer be ignored by contemporary American war cinema. There is a responsibility to bring to light what can be described as an epidemic of sexual assault within the American military and in times of war. This thesis looks at how the lack of representation of sexual violence in American war cinema rewrites history, and erases rape and sexual assault from public memory of military history. Due to the limited representation of wartime sexual violence, not only within American cinema, but also academically and historically, I focus on the lack of resources and cinematic depictions in order to posit how inadequate representations of sexual violence renders victims invisible.
In order to provide a comprehensive overview of sexual violence in American war cinema I draw upon historical as well as academic sources. By looking at examples of sexual assault in military history I am able to detail the ways in which American war films ignore the reality of wartime sexual violence in order to rewrite history. This rewriting of history, I argue, not only erases the truth of rape and sexual assault in America’s military history, it also glorifies the white, American, male soldier.
I have chosen to look at this issue from three perspectives. First, I explore what literature exists on wartime sexual violence, and where the lack of representation is in historical and academic sources. Second, I look at the Vietnam War where I discuss the films Casualties of War (dir. Brian de Palma, 1989) and Platoon (dir. Oliver Stone, 1986) in relation to their problematic depictions of rape. Third, I investigate sexual violence in the American military and its representation in the films The General’s Daughter (dir. Simon West, 1999) and G.I. Jane (dir. Ridley Scott, 1997), while drawing upon the statistics given in the documentary The Invisible War (dir. Kirby Dick, 2012). With the combined information discussed throughout this thesis I shine a spotlight on a difficult, yet important topic, in hope of helping to remove the invisibility of victims of wartime sexual violence.Arts, Faculty of
Theatre and Film, Department of
Graduate
3
Vaughn, Benjamin. "Competing Narratives in Contemporary Japanese War Cinema : Comparing representations of World War II and the military in four recent films." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-74968.
Full textAbstract:
In Japan, the question of how to best remember the events of World War II is often a politically sensitive issue. Japan has occasionally been accused of glossing over its history of war crimes and acts of aggression in textbooks, official statements and other areas. This essay looks at representations of World War II and the military in contemporary Japanese war films, and discuss how they deal with these necessarily political subjects. I use Akiko Hashimoto's categorization of Japanese war narratives - the hero, victim and perpetrator-narratives - to analyze and compare four movies released during the last five years. These movies are The Eternal Zero, The Wind Rises, Kancolle the Movie and The Emperor in August. I look at these films in the context of Japanese film history and current political debates around the role of the Japanese Self-Defense Forces and similar issues. Rather than any clear march towards nationalism, pro-militarism or any other political ideology, these films indicate that directors often avoid politically sensitive issues or taking explicit moral stances. There is often a lack of historical context to events portrayed. The dominant interpretation of history is the victim-narrative in Hashimoto's sense, while perpetrator-narratives are usually absent and hero-narratives are mostly visible in films that are heavily fantasy-based and removed from reality.
4
Oliveira, Valéria Garcia de. "Carne de Fieras, Barrios Bajos e Aurora de Esperanza - o melodrama anarquista na produção cinematográfica da CNT, durante a Guerra Civil Espanhola (1936-1939)." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-19062012-160059/.
Full textAbstract:
Considerando a relação História-Cinema, a presente dissertação é uma reflexão sobre a produção cinematográfica anarquista da CNT durante a Guerra Civil Espanhola (1936-1939), a partir da análise de três de seus principais filmes de ficção: Carne de Fieras (1936/1992), Barrios Bajos (1937) e Aurora de Esperanza (1937). Eles foram construídos numa estrutura de narrativa clássica e melodramática e, dotados de temáticas diversas, como o adultério, a prostituição assediada por gangsteres e o drama do desemprego, representam uma iniciativa ímpar na construção de um cinema social, sob o comando de uma poderosa organização anarquista e durante o processo revolucionário. Neste sentido, consideramos também os meandros do desenvolvimento do anarquismo e do cinema espanhóis, cujas singularidades imprimiram uma dinâmica específica àqueles filmes.Considering the relation between History and Cinema, this present dissertation will ponder on the anarchist cinematographic production of CNT during the Spanish Civil War (1936-1939) through the analysis of three of its most important fiction works: Carne de Fieras (1936/1992), Barrios Bajos (1937) and Aurora de Esperanza (1937). They were structured in a classic and melodramatic narrative and, dealing with several themes, as adultery, gangster-linked prostitution and the misfortune of unemployment, they represent a unique initiative in the construction of a social cinema, under the command of a powerful anarchist organization during the revolutionary process. In this sense, well consider the specifics in the development of Spanish anarchism and cinema, for their singular features have given a specific dynamic to those movies.
5
Quinsani, Rafael Hansen. "A revolução em película : uma reflexão sobre a relação cinema-história e a Guerra Civil Espanhola." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/26721.
Full textAbstract:
A presente dissertação apresenta uma reflexão sobre a relação Cinema-História. O cinema encontrou dificuldades para ser aceito como fonte pelos historiadores, devido à caracterização e à qualificação desta fonte, bem como pelo seu despreparo para analisá-las. Este trabalho problematiza a relação cinema-história, suas possibilidades de interação e reflete sobre estas desde a perspectiva do trabalho do historiador e do seu fazer historiográfico. Parte-se da premissa de que o historiador não pode fechar os olhos para o cinema, seus desafios e os diferentes usos e abusos realizados com a história. Renunciar ao debate e à reflexão implica na perda da função social e política que o fazer historiográfico carrega e dele somos indissociável. Esta dissertação propõe a elaboração de um método de análise Históricocinematográfico, buscando sintetizar as reflexões de diferentes autores das áreas da História e do Cinema. Nossa análise toma como base três filmes que abordam o contexto da Guerra Civil Espanhola. O primeiro filme, ¡Ay, Carmela! (Carlos Saura, 1990), enfoca o conflito através dos dramas e desejos de três atores “mambembes” e sua luta pela sobrevivência. Esta película permite abordar as inter-relações entre arte e guerra e entre o humor presente na atuação dos personagens e nos seus números apresentados frente ao horror de uma guerra e seus traumas. Também são destacados no filme os brigadistas, a presença fascista italiana e o processo de internacionalização do conflito. O segundo filme, Terra e Liberdade (Ken Loach, 1995), aborda a participação e o papel das milícias e, principalmente, as divisões políticas que se formaram no interior do campo republicano (ou antifascista) durante a guerra. O filme permite uma discussão sobre o debate político no interior da esquerda e o contexto no qual é retratado. O terceiro filme, Libertárias (Vicente Aranda, 1996) aborda a atuação das milícias anarquistas no front da Guerra Civil através da história da freira Maria e sua trajetória com um grupo de combatentes anarquistas, retratadas sob um ponto-de-vista coletivo, sem que um personagem assuma um protagonismo principal. A conclusão apresenta elementos comparativos das três películas e reflete sobre a relação Cinema-História e suas implicações na contemporaneidade.This thesis presents a reflection on the relation between Cinema and History. The cinema had difficulty being accepted by historians as a source because of the characterization and qualification of this source, as well as their unwillingness to consider them. This paper discusses the relation between cinema and history and its ability of interaction. It ponders on the subject from the perspective of the historian's work and its historiographical doings. The discussion starts with the premise that the historian can not shut his eyes to the cinema, its challenges and different uses and abuses committed against history. To renounce debate and reflection implies on the loss of the social and political function that the historiographical doing carries, and we are inseparable from it. This thesis proposes the development of a filmhistory method of analysis, seeking to synthesize the reflections of different authors in the areas of History and Cinema. Our analysis is based on three films that address the context of the Spanish Civil War. The first movie is, ¡Ay, Carmela! (Carlos Saura, 1990), which focuses on the conflict through the dramas and desires of three stage actors and their struggle for survival. This film allows us to study the interrelations between art and war and between the humor in the characters’ actions and their plays against the horror of war and its traumas. The brigade and the presence of Italian fascists during the process of internationalization of the conflict are also highlighted by the film. The second film, Land and Freedom (Ken Loach, 1995), addresses the role of the militias and especially the political divisions that emerged within the Republican camp (or fascist) during the war. The film allows a discussion on the political debate within the left and the context in which it is portrayed. The third film, Freedomfighters (Vicente Aranda, 1996) discusses the role of the anarchist militias in the Civil War front through the story of the nun Maria and her journey with a group of anarchist fighters, depicted from a collective point of view without any character on a leading role. The conclusion presents comparative elements of the three films and reflects on the Cinema- History relation and its implications for contemporary society.
6
Barrère, Sandra. "Écrire une histoire tue : le massacre de Sabra et Chatila dans la littérature et l’art." Thesis, Bordeaux 3, 2019. http://www.theses.fr/2019BOR30022.
Full textAbstract:
La recherche entend interroger les fonctions de la littérature et de l’art relativement à un événement violent qui fait l’objet d’un tabou, à savoir le massacre perpétré dans les camps de réfugiés palestiniens de Sabra et Chatila (16-18 septembre 1982), à Beyrouth. Elle s’y applique à partir d’un présupposé : il n’y a pas seulement effraction du réel dans l’art, l’art est le temps à l’œuvre (P. Ricœur, A. Compagnon). La démarche part du constat d’un triple déficit d’histoire, de culte des morts et de justice. Il s’agit d’un événement tu : on le dira tabou. Par ailleurs, elle prend acte de l’émergence d’un corpus d’œuvres dans les champs de la littérature, du cinéma, de l’art contemporain. Dès lors, la recherche entend ausculter les fonctions politiques de la poétique (J. Rancière). Plusieurs hypothèses sont formulées qui ensemble signalent le caractère à la fois transitif et performatif de l’art et de la littérature : d’une part, au regard d’une vérité non avérée dans les livres d’histoire, et du mal de vérité qui en résulte (C. Coquio), les œuvres ont vocation à dire ce que l’histoire tait (I. Jablonka, E. Bouju, A. Imhoff, K. Quirós) ; d’autre part, les victimes n’ayant pas été enterrées, les œuvres déposent une stèle à l’endroit de son manque, rétablissant des égalités en direction de corps qui ne comptent pas (J. Butler) ; enfin, face à une irrésolution judiciaire qui signe le caractère indécidable de l’événement, elles opèrent, par leurs médiations symboliques, la clinique non seulement de l’humain, mais aussi du langage et de l’autorité du sens (A. Gefen, C. Coquio).Située au croisement des études postcoloniales et des études de genre, la recherche examine la politicité de la littérature et de l’art à partir d’un corpus de 14 œuvres prélevées aussi bien à l’épicentre qu’aux périphéries de l’événementThe research questions the functions of literature and art in relation to a violent event that is a taboo subject, namely the massacre perpetrated in the Palestinian refugee camps of Sabra and Shatila (16-18 September 1982 ), in Beirut. It applies to it with a presupposition: there is not only the breaking of reality in art, art is the time at work (P. Ricœur, A. Compagnon). The process begins with the observation of a triple deficit most evident in historiography, in cult of the dead and justice. This is an event that is held secret: we will call it taboo. In addition, it takes note of the emergence of a corpus of works in the fields of literature, cinema, contemporary art. From then on, the research intends to auscultate the political functions of poetics (J. Rancière). Several hypotheses are formulated which together signal the transitive and performative character of art and literature: on the one hand, in the shade of a truth not recorded in history books, i.e. of the melancholy of truth resulting from this missing (C. Coquio), the works are meant to tell what history conceals (I. Jablonka, E. Bouju, A. Imhoff, K. Quirós); on the other hand, since the victims have not been buried, the works deposit a stele at the place of its absence, restoring equalities towards bodies that do not count (J. Butler); finally, faced with a judicial irresolution which signifies the undecidable character of the event, they operate, through their symbolic mediations, the rehabilitating clinic not only of the human being, but also of the language and the authority of sense (A. Gefen, C. Coquio). Situated at the crossroads of postcolonial studies and gender studies, the research examines the politicity of literature and art of a body of 14 works collected from both the epicenter and the periphery of the event
7
Quarrie, Cynthia. "What Violently Elects Us: Filiation, Ethics, and War in the Contemporary British Novel." Thesis, 2012. http://hdl.handle.net/1807/65489.
Full textAbstract:
This dissertation examines the trope of filiation in novels by three contemporary British writers: John Banville, Ian McEwan, and Kazuo Ishiguro.
The trope of filiation and the related theme of inheritance has long been central to the concerns of the British novel, but it took on a new significance in the twentieth century, as the novel responded both thematically and formally to the aftermath of the two world wars. This study demonstrates the ways in which Banville, McEwan, and Ishiguro each situate their work in relation to this legacy, by means of an analogy between the inheritance structures figured within their novels and the inheritance performed by their engagement with the genre itself.
This study relies on an instructive analogy to similar treatments of the larger problem of cultural filiation by the theorists Emmanuel Levinas and Jacques Derrida. Levinas exposes in his work the ethical and political problems of modernist temporality by critiquing modernity’s rejection of filiation, a rejection modeled also in the lost children, and barren and celibate men and women of modernist novels. Derrida meanwhile provides a way forward with his representation and performance of inheritance as a critical and transformative act, which is characterised on one hand by an ethical injunction, and on the other, by a filtering or a differentiation which changes the tradition even as it reaffirms it.
8
Kazur, Bogna. "The (Literary) Special Effect: (Inter)Mediality in the Contemporary US-American Novel and the Digital Age." Doctoral thesis, 2019. http://hdl.handle.net/21.11130/00-1735-0000-0005-14F6-F.
Full textBooks on the topic "Contemporary US war cinema"
2
The politics of loss and trauma in contemporary Israeli cinema. New York: Routledge, 2011.
Find full text
3
Carol Geronès, Lídia. Un bric-à-brac de la Belle Époque. Venice: Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-434-9.
Full textAbstract:
Fortuny (1983) by Pere Gimferrer is the only novel (at least to date) that the author has written in Catalan and it represents one of the most unique novels of contemporary Hispanic narrative. The aims of the present study are mainly two: to shed light on one of the most important, but least studied, works by Pere Gimferrer, the greatest representative of Hispanic creativity for the Post-War Generation, and to analyse critical reception of the work and show how the novel has evolved from the time of publication in 1983 until today. This essay consists of three major parts: the study of critical reception, the narratological analysis of the text and the unveiling of the textual, but above all visual, references that make up the novel. The latter allows us to explain two essential elements of the novel: the imaginary Fortuny on the one hand and, on the other, the novel’s intertextual concrete figure of speech, its ekphrasis. The study of this intentionally visual character of the novel not only wanted to highlight the importance of two arts to which Gimferrer has always paid special attention – we refer to cinema and painting – but has also demonstrated the desire of the writer to innovate the Catalan narrative scene, using different literary devices to push the limits of the genre novel.
4
Spencer-Hall, Alicia. Medieval Saints and Modern Screens. NL Amsterdam: Amsterdam University Press, 2017. http://dx.doi.org/10.5117/9789462982277.
Full textAbstract:
This ground-breaking book brings theoretical perspectives from twenty-first century media, film, and cultural studies to medieval hagiography. Medieval Saints and Modern Screens stakes the claim for a provocative new methodological intervention: consideration of hagiography as media. More precisely, hagiography is most productively understood as cinematic media. Medieval mystical episodes are made intelligible to modern audiences through reference to the filmic - the language, form, and lived experience of cinema. Similarly, reference to the realm of the mystical affords a means to express the disconcerting physical and emotional effects of watching cinema. Moreover, cinematic spectatorship affords, at times, a (more or less) secular experience of visionary transcendence: an 'agape-ic encounter'. The medieval saint's visions of God are but one pole of a spectrum of visual experience which extends into our present multi-media moment. We too conjure godly visions: on our smartphones, on the silver screen, and on our TVs and laptops. This book places contemporary pop-culture media - such as blockbuster movie The Dark Knight, Kim Kardashian West's social media feeds, and the outputs of online role-players in Second Life - in dialogue with a corpus of thirteenth-century Latin biographies, 'Holy Women of Liège'. In these texts, holy women see God, and see God often. Their experiences fundamentally orient their life, and offer the women new routes to knowledge, agency, and belonging. For the holy visionaries of Liège, as with us modern 'seers', visions are physically intimate, ideologically overloaded spaces. Through theoretically informed close readings, Medieval Saints and Modern Screens reveals the interconnection of decidedly 'old' media - medieval textualities - and artefacts of our 'new media' ecology, which all serve as spaces in which altogether human concerns are brought before the contemporary culture's eyes.
5
Aghib Levi D’Ancona, Flora. La Nostra Vita con Ezio e Ricordi di guerra. Edited by Luisa Levi d'Ancona Modena. Florence: Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-273-7.
Full textAbstract:
Our life with Ezio and Memories of War, written by Flora Aghib Levi D’Ancona traces the life of her husband Ezio Levi, a Jewish Italian philologist and hispanist, their experiences of exile in the US where the couple fled after the racial laws. Completed with a historiographical introduction and an appendix of unpublished letters, the volume traces Ezio’s path as a Jewish intellectual in Fascist Italy, his role as a cultural mediator of Spanish contemporary literature to Italy, the trauma of the racial laws, and the challenges of the American exile. Expression of a women’s exile literature, the pages reflect the authors experience as a mother writing for her children left in Italy and of an intellectual Italian Jewish woman dealing with the challenges of exile and memory.
6
Paszkiewicz, Katarzyna. Genre, Authorship and Contemporary Women Filmmakers. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474425261.001.0001.
Full textAbstract:
Genre, Authorship and Contemporary Women Filmmakers examines the significance of women’s contribution to genre cinema by highlighting the work of US filmmakers within and outside Hollywood – Kathryn Bigelow, Sofia Coppola, Nancy Meyers, Karyn Kusama and Kelly Reichardt, among others. Exploring genres as diverse as horror, the war movie, the Western, the costume biopic and the romantic comedy, Katarzyna Paszkiewicz interrogates questions of ‘genre’ authorship; the blurring of the borders between commercial and independent cinema and gendered discourses of (de)authorisation that operate within each sphere; ‘male’–‘female’ genre divisions; and the issue of authorial subversion in film and popular culture in a wider sense. With its focus on close analysis of the films themselves and the cultural and ideological meanings involved in the reception of genre texts authored by women, this book expands critical debates around women’s cinema and offers new perspectives on how contemporary filmmakers explore the aesthetic and imaginative power of genre.
8
Allen, Michael. Contemporary US Cinema. Routledge, 2014. http://dx.doi.org/10.4324/9781315837543.
Full text
9
MacIel, David. El Norte the Us-Mexican Border in Contemporary Cinema: The U.S.-Mexican Border in Contemporary Cinema (Border Studies Series.). San Diego State Univ, 1990.
Find full text
10
Lee, Sangjoon. Cinema and the Cultural Cold War: US Diplomacy and the Origins of the Asian Cinema Network. Cornell University Press, 2020.
Find full textBook chapters on the topic "Contemporary US war cinema"
1
Egea, Juan F. "The En-Genrement of the Nation: The Spanish Civil War Film and Guillermo del Toro’s Fantasies." In Rethinking Genre in Contemporary Global Cinema, 79–89. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-90134-3_6.
Full text
2
Maxey, Ruth. "Creating a Usable Past: Writing the Korean War in Contemporary American Fiction." In 21st Century US Historical Fiction, 149–69. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-41897-7_9.
Full text
3
Garriott, William. "Policing Methamphetamine: Police Power and the War on Drugs in a Rural US Community." In Policing and Contemporary Governance, 53–76. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137309679_3.
Full text
4
Fox, Charity. "Rugged Individualists and Systemic Coups: Imagining Mercenary Masculinities in The Dogs of War (1974)." In Contemporary Masculinities in the UK and the US, 39–56. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-50820-7_3.
Full text
5
Andersen, Tea Sindbæk. "“Organized Bestial Gangs”—The Second World War and Images of Betrayal in Yugoslav Socialist Cinema." In Traitors, Collaborators and Deserters in Contemporary European Politics of Memory, 265–83. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-66496-5_11.
Full text
6
Pepper, Andrew. "Teaching Contemporary US Crime Fiction Through the ‘War on Drugs’: A Postgraduate Case Study." In Teaching Crime Fiction, 195–210. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-90608-9_13.
Full text
7
Calderón, Fernando Herrera. "Rewriting the History of the Urban Revolutionary: Documentary Film and Human Rights Activism in Post-dirty War Society." In Human Rights, Social Movements and Activism in Contemporary Latin American Cinema, 45–69. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-96208-5_3.
Full text
8
Persson, Anders. "Americans and Russians as Representatives of ‘Us’ and ‘Them’: Contemporary Swedish School History Textbooks and their Portrayals of the Central Characters of the Cold War." In The Cold War in the Classroom, 107–35. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-11999-7_6.
Full text
9
Edelmann, Dennis. "The ‘War on Terror’ in Contemporary Hollywood Cinema: Ridley Scott’s Body of Lies and Jeffrey Nachmanoff ’s Traitor." In Göttinger Schriften zur Englischen Philologie, 93–129. Göttingen: Göttingen University Press, 2013. http://dx.doi.org/10.17875/gup2021-1693.
Full text
10
Edelmann, Dennis. "The ‘War on Terror’ in Contemporary Hollywood Cinema: Ridley Scott’s Body of Lies and Jeffrey Nachmanoff ’s Traitor." In Göttinger Schriften zur Englischen Philologie, 93–129. Göttingen: Göttingen University Press, 2013. http://dx.doi.org/10.17875/gup2021-1756.
Full textConference papers on the topic "Contemporary US war cinema"
1
Kolotaev, Vladimir. "Post-War Syndrome As Expressed In Cinema-Fixed Projective Identification." In Psychology of subculture: Phenomenology and contemporary tendencies of development. Cognitive-Crcs, 2019. http://dx.doi.org/10.15405/epsbs.2019.07.33.
Full text
2
Zhang, Zhiwei. "A Study on US Foreign Health Aid to the Developing Countries During the Cold War Taking Cholera Prevention and Treatment as an Example." In Proceedings of the 2nd International Conference on Contemporary Education, Social Sciences and Ecological Studies (CESSES 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/cesses-19.2019.257.
Full text
3
Aquilué, Inés, Estanislao Roca, and Javier Ruiz. "Topological analysis of contemporary morphologies under conflict: The urban transformation of Dobrinja in Sarajevo and the Central District of Beirut." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.6167.
Full textAbstract:
Regarding topological interpretation of space, this research aims to identify urban morphologies, whose topology becomes increasingly determining under high uncertainty. This topological approach has been applied in an evolutionary analysis of urban spaces under siege, fear and conflict, which conducted to the construction of a specific method. This method analyses the transformation of urban areas in five consecutive phases: urban form [1], increase of uncertainty [2], application of the apparatus [3], change in urban form [4], information flows [5]. These five phases were applied to different empirical studies, analysed through specific morphological and topological models. In the light of this method, two selected urban morphologies Dobrinja –a suburb in Sarajevo– and the Beirut Central District have been examined. The urban morphology of both areas was dramatically transformed after both civil conflicts –the Bosnian War and the Lebanese Civil War–. Dobrinja suffered severe modifications, first provoked by the violence of the siege during the Bosnian War [1992-1995], and then by the Inter-Entity Boundary Line as a result of the Dayton Peace Agreement [December 1995], which divided the neighbourhood and caused serious alterations in its ethno-demographic and spatial structure. The Beirut Central District was first destroyed by the violence experienced in the Lebanese Civil War [1975-1990] and then by the process of subsequent reconstruction [since 1992], which led to a simplification of its structure. The two morphological and topological analyses enable us to determine the initial causes and their spatial consequences in both urban areas, regarding their conflict and post-conflict stage.
4
Agata Kantarek, Anna, and Ivor Samuels. "Nowa Huta, Krakow, Poland. Old Urbanism, New Urbanism?" In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.6463.
Full textAbstract:
This paper considers the first stage of Nova Huta New Town built near Krakow in the 1950s. In contrast to UK and US new settlements of the post war period it is a high density apartment block development which was ignored in the literature for more than half a century because its design, based on a system of streets, is in contrast with contemporary forms of development, either low density garden city or higher density free standing apartment blocks. A discussion of its neglect and the recent rediscovery of its qualities, both in Poland and by exponents of the US New Urbanism (part of the Urban Morphology spectrum somewhat neglected by ISUF) leads to a systematic investigation of the development, its influences and how this project conceived in a radically different political and economic context, matches or departs from the tenets of the Charter for the New Urbanism. The extent to which the context has determined the differences leads to a conclusion discussing the enduring qualities and contemporary relevance of inherited urban forms. References: Biedrzycka A., Chyb A., Fryźlewicz M. (ed.) Nowa Huta - architektura i twórcy miasta idealnego. Niezrealizowane projekty, Muzeum Historyczne Miasta Krakowa, Kraków 2006. Gauthier,P. and J. Gilliland (2006), ‘Mapping urban morphology: a classification scheme for interpreting contributions to the study of urban form’, Urban Morphology 10.1, 41-50 Hatherley, O.(2015) Landscapes of Communism. A history through buildings (Allen Lane,London). Juchnowicz, S. (2005) ‘Nowa Huta-przeszłość i wizja. Z doświadczeń warsaztatu projektowego in Nowa Huta-przyszłość i wizja’. Studium muzeum rozprosznego, Biblioteka Krzysztoforska, Krakow. Lisowski, B. (1968) Modern architecture in Poland (Polonia Publishing House, Warsaw). Plater Zyberk, E. (2015) ‘Traditional urbanism: design policy and case studies’. in Jeleński et al eds. Tradition and heritage in the contemporary image of the city, Volume 1, Wyd. Politechniki Krakowskiej, Krakow. p160-171. The Congress for the New Urbanism (1999) Charter of the New Urbanism (1999) (https://www.cnu.org/who-we-are/charter-new-urbanism) accessed 4 January 2017. Wyrozumski J. (eds.) Narodziny Nowej Huty Towarzystwo Miłośników Historii i Zabytków Krakowa, Kraków, 1999.