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Dissertations / Theses on the topic 'Motion pictures and the war'

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Published: 4 June 2021

Last updated: 29 July 2024

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1

McDiarmid, Tracy. "Imagining the war /." Connect to this title, 2005. http://theses.library.uwa.edu.au/adt-WU2006.0054.

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2

Ferguson, Laura Elizabeth. "Kicking the Vietnam syndrome? : collective memory of the Vietnam War in fictional American cinema following the 1991 Gulf War." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/2672/.

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This thesis analyses the concept of the “Vietnam Syndrome” and its continuing manifestation in fictional American films produced after the 1991 Gulf War, with reference to depictions of the Vietnam, Gulf and Iraq Wars. Based on contemporary press reports as source material and critical analysis, it identifies the “Vietnam Syndrome” as a flexible and altering national psychological issue characterised initially as a simple aversion to military engagement, but which grew to include collective feelings of shame, guilt and a desire to rewrite history. The thesis argues that the “Syndrome” was not

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3

Nguyen, Nguyet 1980. "Representation of Vietnam in Vietnamese and U.S. War Films: A Comparative Semiotic Study of Canh Dong Hoang and Apocalypse Now." Thesis, University of Oregon, 2009. http://hdl.handle.net/1794/10635.

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xii, 125 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.<br>This comparative semiotic study aims to examine and critically compare the portrayal of the Vietnam War in two award-winning films, one Vietnamese and the other American, both made in 1979: Canh Dong Hoang (The Wild Rice Field) and Apocalypse Now. This study employs semiology to examine the two films in the framework of postcolonial, ideology and hegemony theories to critically compare similarities and differences in the two films' portrayal of "

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4

Gonzalez, Felix M. Kendrick James. ""What's the matter with bigamy?" the American family in the wartime comedies of Preston Sturges /." Waco, Tex. : Baylor University, 2009. http://hdl.handle.net/2104/5314.

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5

Archibald, David. "The Spanish Civil War in cinema." Thesis, University of Glasgow, 2004. http://theses.gla.ac.uk/1089/.

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In this thesis I present a case study of the Spanish civil war in cinema. I examine how this period has been represented in cinema through time, in different countries and in various cinematic forms. I reject the postmodern prognosis that the past is a chaotic mass, made sense of through the subjective narrativisation choices of historians working in the present. On the contrary, I argue that there are referential limits on what histories can be legitimately written about the past. I argue that there are different, often contradictory, representations of the Spanish civil war in cinema which i

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6

Fisher, Kevin B. "Intimate elsewheres altered states of consciousness in post WWII American cinema /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1565346871&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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7

Akhter, Fahmida. "Fragmented memory, incomplete history : women and nation in war films of Bangladesh." Thesis, University of Essex, 2017. http://repository.essex.ac.uk/20049/.

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The most important and celebrated chapter in the history of Bangladesh is its nine-month long Liberation War (Muktijuddho in Bengali) of 1971. My research explores the ways in which memories and histories of the war are shaped by the gender dynamics of nationalism in different periods through examining war-themed films of Bangladesh. By covering both mainstream and alternative war films produced just before, during and after the war, from 1970 to 2011, I trace the various ways in which men and women are represented in war films and construct the idea of nation. I also aim to unpack the politic

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8

Chang, Hsin-Ning. "Viewing the Long Take in Post-World War II Films: A Cognitive Approach." Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1227302639.

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9

Buckle, Christopher. "The 'War on Terror' metaframe in film and television." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/3014/.

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Following the terrorist attacks of September 11th, 2001, the government of the United States of America declared a ‘War on Terror’. This was targeted not only at the ostensible culprits – al-Qaeda - but at ‘terror’ itself. The ‘War on Terror’ acted as a rhetorical ‘metaframe’, which was sufficiently flexible to incorporate a broad array of nominally-related policies, events, phenomena and declarations, from the Iraq war to issues of immigration. The War on Terror is strategically limitless, and therefore incorporates not only actual wars, but potential wars. For example, the bellicose rhetoric

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10

Treveri, Gennari Daniela. "America, the Vatican and the Catholic Church sphere of activity in Italian post-war cinema (1945-1960)." Thesis, University of Warwick, 2005. http://wrap.warwick.ac.uk/79998/.

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The thesis examines the extent the means and the degree to which the American and the Vatican's common cultural ideology was expressed in the film industry of post-war Italy (1945-1960). Through a comparative approach of current theories developed on ideology and an analysis of official documents from the Vatican and the United States Department of State, the thesis investigates the decisive role that American production companies played in the development of the Italian film industry and their links to the Vatican. This analysis evaluates how the Italian production and distribution industries

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11

Zhao, Meng. "Understand the misunderstanding a study incorporating uses and gratifications theory on why Chinese film audiences see America the way they do /." Lynchburg, Va. : Liberty University, 2008. http://digitalcommons.liberty.edu.

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12

Ng, Stephanie Yuet Wah. "Modes of production in post-war cantonese cinema : bricolage and sing-song comedy." HKBU Institutional Repository, 2013. http://repository.hkbu.edu.hk/etd_ra/1532.

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13

Jiang, Wei. "A discourse of devils :representations of the Japanese in Chinese war films after 1949." Thesis, University of Macau, 2017. http://umaclib3.umac.mo/record=b3690649.

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14

Lee, Shuk-man, and 李淑敏. "From cold war politics to moral regulation : film censorship in colonial Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/197504.

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Through the case of film censorship in Hong Kong from the late 1940s to the 1970s, this thesis explores the local impact of the international Cold War. It argues that Cold War politics shaped the nature of local policy. The first chapter investigates the reasons for the rise of film censorship in the late 1940s and the 1950s. It argues that three levels of Cold War tensions led the Hong Kong government to focus on political censorship. Tensions within the British Empire, between the Hong Kong government and foreign governments, and those between local communists and the Hong Kong government le

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15

Randell, Karen Mary. "Hollywood and war : trauma in film after the First World War and the Vietnam War." Thesis, University of Southampton, 2003. https://eprints.soton.ac.uk/50596/.

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This thesis examines war trauma in film; it is a comparative reading that aims to study the relationship between films made after the First World War in the 1920s and films made during and after the Vietnam War. I use thirteen focus film texts, some which explicitly engage with war and some that do not. This thesis will argue that the production of these particular films was inflected by the collective trauma that the wars produced in American society. There was not, for example, an explicit combat film made for seven years after the First World War and thirteen years after the Vietnam War. Th

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16

Hall, Karen J. "War games and imperial postures: Spectacles of combat in United States popular culture, 1942--2001." Related Electronic Resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2003. http://wwwlib.umi.com/cr/syr/main.

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17

McDiarmid, Tracy. "Imagining the war / imagining the nation : British national identity and the postwar cinema, 1946-1957." University of Western Australia. School of Humanities, 2006. http://theses.library.uwa.edu.au/adt-WU2006.0054.

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[Truncated abstract] Many historical accounts acknowledge the ‘reverberations’ of the Second World War that are still with the British today, whether in terms of Britain’s relationships with Europe, the Commonwealth, or America; its myths of consensus politics and national unity; or its conceptions of national character. The term ‘reverberations’, however, implies a disruptive, unsettling influence whereas today’s popular accounts and public debates regarding national identity, more often than not concerned with ‘Englishness’ as a category distinctive from ‘Britishness’, instead view the Secon

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18

Langlois, Suzanne 1954. "La résistance dans le cinéma français de fiction (1944-1994) /." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=42073.

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The subject of this doctoral dissertation is a thematic study of the representation of the Resistance in French fiction films since 1944. This work encompasses the larger fields of history and memory of the Resistance and the Second World War. It is a cinematographic historiography which explores 50 years of film production about the French Resistance. It analyzes the historical choices put forward by film, the censorship which had to be overcome, as well as the sources it used. It also examines how film contributes to the formation of historical consciousness. These developments are compared

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19

Jooste, Rina. "Representing history through film with reference to the documentary film Captor and Captive : perspectives on a 1978 Border War incident." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/85668.

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Thesis (MA)-- Stellenbosch University, 2013.<br>ENGLISH ABSTRACT: This dissertation is supplementing a documentary film entitled Captor and Captive – the story of Danger Ashipala and Johan van der Mescht (2010), referred to as Captor and Captive, with a duration of 52-minutes. The film follows the story of two soldiers caught up in the disorganized machine of war. Johan van der Mescht, a South African Defence Force (SADF) soldier was captured in 1978 by Danger Ashipala, a South West Africa People’s Organisation (SWAPO) guerilla fighting for Namibian independence. Van der Mescht was held

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20

Ng, Hoi-shan Crystal. "Rewriting Louis Cha's classical characters in filmic representation in response to the political and cultural mutation of Hong Kong 90S - Wong Kar Wai and Tsui Hark." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20272662.

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21

Poon, Ka Yan. "Co-producing a cold war cosmopolitan fantasy: collaboration and competition between Hong Kong and Japanese Cinema in the 1950s and 1960s." HKBU Institutional Repository, 2018. https://repository.hkbu.edu.hk/etd_oa/548.

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This dissertation is a study of how Hong Kong and Japanese cinema constructed an imaginary of cosmopolitanism in films for a global market through co-production during the Cold War. Co-production examined in the dissertation is not limited to co-produced films. In the mid-1950s to the late 1960s, Hong Kong and Japanese cinema had frequent contact, which included co-organizing a film festival, exchanging film talents, and adapting films. Neutral terms like collaboration and cooperation describing the interchange between Japanese and Hong Kong cinema often disguised their competition in an uneve

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22

Calhoun, Claudia Y. ""When I get home, I'm fixin' to stay" : gender and domesticity in Post-World War II musical Westerns /." Connect to electronic thesis, 2005. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2006/251.pdf.

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23

Tatlock, Melissa S. "From Titanic to Star Wars : a Derridean deconstructive analysis of the minimization of violence in the 25 top grossing films of all-time /." Halifax, N.S. : Saint Mary's University, 2009.

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24

Yip, Wing-see Audrey, and 葉泳詩. "Conserved in celluloid: an approach to the contextual understanding of urban Hong Kong through post-war movies." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B47092816.

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This dissertation shows the way in which movies, as a form of popular culture and contemporary medium, can be used as a tool for facilitating an alternatively impressionable approach in understanding social history in context, which can be complementary to the purely historical approach in conducting research in the field of heritage conservation. 6 representative post-war Hong Kong movies from the 1950’s to 2000’s are selected for discussion through textual analysis of key cinematic frames based on 5 specific criteria. The ‘cinematic reality’ of each is discussed against the ‘historical r

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25

Ng, Hoi-shan Crystal, and 吳海珊. "Rewriting Louis Cha's classical characters in filmic representation inresponse to the political and cultural mutation of Hong Kong 90S -Wong Kar Wai and Tsui Hark." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31951697.

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26

Keehn, Robin S. "Dialectics of containment : mothers, moms, soldiers, veterans and the cold war mystique /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1998. http://wwwlib.umi.com/cr/ucsd/fullcit?p9913156.

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27

Burton, James Amos. "Film, history and cultural memory : cinematic representations of Vietnam-era America during the culture wars, 1987-1995." Thesis, University of Nottingham, 2008. http://eprints.nottingham.ac.uk/10493/.

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My thesis is intended as an intellectual opportunity to take what, I argue, are the "dead ends" of work on the history film in a new direction. I examine cinematic representations of the Vietnam War-era America (1964-1974) produced during the "hot" culture wars (1987-1995). I argue that disagreements among historians and commentators concerning the (mis)representation of history on screen are stymied by either an over-emphasis on factual infidelity, or by dismissal of such concerns as irrelevant. In contradistinction to such approaches, I analyse this group of films in the context of a fluid a

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28

Ho, Chui-fun Selina. "Ann Hui as a female filmmaker in search of Hong Kong culture /." Click to view the E-thesis via HKUTO, 1998. http://sunzi.lib.hku.hk/hkuto/record/B31951636.

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29

Rositzka, Eileen. "The cinematic corpography of war : re-mapping the war film through the body." Thesis, University of St Andrews, 2017. http://hdl.handle.net/10023/13075.

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In this thesis, I explore the ways the sensory experience of war is staged as a corporeal apprehension of space in the Hollywood war film. Placing an emphasis on films that foreground tactile, and sonic experience in combat as a key dimension of symbolic meaning in the depiction of war, I move beyond the emphasis on optics and weaponised vision that has largely dominated contemporary writing on war and cinema in order to highlight the wider sensory field that is powerfully evoked in this genre. In my conception of war cinema as representing a somatic experience of space, I am applying a term r

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30

Jordan, James. "Bearing witness to the Holocaust in the courtroom of American fictive film." Thesis, University of Southampton, 2003. https://eprints.soton.ac.uk/50607/.

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From the first post-war trials to the recent libel trial in the London High Court brought by Holocaust denier David Irving against Penguin Books and American academic Deborah Lipstadt the real-life courtroom has provided more than a legal judgment in respect of the Holocaust. As legal scholar Lawrence Douglas has shown in The Memory of Judgment: Making Law and History in the Trials of the Holocaust (2001), this formal, institutionalised and controlled setting has also been the forum for an increasingly nuanced, often intentionally pedagogic, examination of the Holocaust. After nearly sixty yea

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31

Nakao, Tomyo. "The representation of Japan in British POW films of the 1950s." Thesis, University of Essex, 2015. http://repository.essex.ac.uk/16055/.

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This thesis analyses the formation of images and representations of Japan in British films of the 1950s. Japan's image changed drastically during and after World War II, as knowledge of Japan's maltreatment of prisoners of war (POWs) became known. The thesis considers four films and the novels or scripts from which they were made: The Wind Cannot Read (both David Lean's and Ralph Thomas's version), A Town Like Alice, The Bridge on the River Kwai, and The Camp on Blood Island. This study shows how film became a venue for expressing untold experiences and the battle over 'proper' representations

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32

Norris-Schwinn, Vivian. "Globalization and anarchy in cinema : who wins and who loses in the entertainment war /." Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/6632.

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33

Estrada, Alicia Ivonne. "Textual transversals : activisms and decolonization in Guatemalan Mayan and Ladina women's texts of the Civil War and postwar periods /." Diss., Digital Dissertations Database. Restricted to UC campuses, 2006. http://uclibs.org/PID/11984.

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34

Hwang, Junghyun. "Specters of the Cold War in America's century the Korean War and transnational politics of national imaginaries in the 1950s /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3336473.

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Thesis (Ph. D.)--University of California, San Diego, 2008.<br>Title from first page of PDF file (viewed December 16, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 206-219).

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35

Peters, Claire Isla MacLeod. "Le Paris de la mémoire : traces of the Holocaust and the Algerian War in the 'city of light'." Thesis, University of Birmingham, 2013. http://etheses.bham.ac.uk//id/eprint/4714/.

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This thesis examines contemporary literary and cinematic representations of Paris in relation to the dynamics of collective memory, arguing that the city emerges as a privileged site in which to explore critical questions of identity, memory and citizenship in France. In this comparative approach to representations of memories of the Holocaust and the Algerian War in France, I identify a shared lexicon of urban space simultaneously hiding and revealing traces of the past in the contemporary city. This study of memories and their urban and palimpsestic representations challenges the tendency to

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36

Baldwin, Jillian. "Room 2046: A Political Reading of Wong Kar-Wai's Chow-Mo Wan Trilogy through Narrative Elements and Mise-en-scene." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5482/.

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As ownership of Hong Kong changed hands from the United Kingdom to the People's Republic of China in 1997, citizens and filmmakers of the city became highly aware of the political environment. Film director Wong Kar-Wai creates visually stimulating films that express the anxieties and frustrations of the citizens of Hong Kong during this period. This study provides a political reading of Days of Being Wild (1991), In the Mood for Love (2000), and 2046 (2004) through analyzing various story elements and details within the mise-en-scene. Story elements include setting, dialogue, character relati

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37

Powell-Jones, Lindsay. "Deleuze and Tarkovsky : the time image and post-war Soviet cinema history." Thesis, Cardiff University, 2016. http://orca.cf.ac.uk/93276/.

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Andrei Tarkovsky (1932-1986) is remembered as one of Russia's most influential and celebrated filmmakers. Over the course of his career he released seven feature films: Ivan’s Childhood (1962); Andrei Rublev (1966, USSR release 1971); Solaris (1972); Mirror (1975); Stalker (1979); Nostalghia (1983); and The Sacrifice (1986). Drawing on a history of post-war Soviet cinema, this thesis brings his films into contact with the concepts outlined in Gilles Deleuze’s two radical books on film: Cinema 1: The Movement-Image and Cinema 2: The Time-Image. Deleuze's Cinema books provide a system of classif

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38

Cicchetti, Pasquale. "A long way home : cinema and the cultural map of America, 2001-2011." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/11866.

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This thesis addresses a set of transformations in the symbolic construction of America, as reflected by a number of films released during what is commonly referred to as the post 9/11 period. Following a rich debate in the field of American literary studies, the study investigates the self-image of the nation as projected by four representative films of the decade. Throughout the chapters, the central hypothesis of the thesis is that the cultural symbology of the nation, its symbolic map, continues to act as a territorialising force within the diegetic universes of the texts. In so doing, the

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39

Leung, Nim-ming. "A study of marginality in Ann Hui's films." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22200150.

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40

Tang, Yui-che Gigi. "The representation of memory in Wong Kar Wai's movies." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25262580.

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41

Turković, Dajana. ""Death to all fascists! liberty to the people!" : history and popular culture in Yugoslavia 1945-1990." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99611.

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This essay analyzes the changing portrayal of Yugoslavia's World War II experience in music, film, and literature. It argues that the disappearance of unifying themes from the cultural sphere opened the doors to the popularization of controversial and divisive subjects. Shifting perceptions of how Yugoslavs fought and survived the Second World War contributed to the destruction of Yugoslavia.<br>The first chapter focuses on World War II in Yugoslavia. The second chapter discusses the early development of Yugoslav culture and its dependence on the Second World War. The third chapter follows the

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42

Cheung, William. "An evaluation of the new wave cinema in Hong Kong through the study of four directors : Patrick Tam, Allen Fong, Ann Hui and Tsui Hark /." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22030335.

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43

Saeger, J'Leen Manning. "The recuperation of historic memory recognizing suppressed female voices from the Spanish Civil War and Francoist repression /." Diss., [Riverside, Calif.] : University of California, Riverside, 2009. http://proquest.umi.com/pqdweb?index=1&did=1957395191&SrchMode=2&sid=12&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1270050392&clientId=48051.

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Thesis (Ph. D.)--University of California, Riverside, 2009.<br>Includes abstract. Title from first page of PDF file (viewed March 31, 2010). Available via ProQuest Digital Dissertations. Includes bibliographical references (p. 267-283). Also issued in print.

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Mullins, Michael Bryan. "Hildegard On Rubble Mountain." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3328/.

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Hildegard On Rubble Mountain is a cinema verité documentary about Hildegard Modinger's childhood. She grew up in Stuttgart, Germany during World War II and immigrated to the United States at the age of nineteen. This video follows her back to her childhood neighborhood as she recalls memories of that time in her life. The accompanying production book explains the production process: preproduction, production, postproduction, theoretical approaches, style used and a self-evaluation.

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45

Martino, John R. ""Remember i was the movies" the cinematic prose of William S. Burroughs /." Morgantown, W. Va. : [West Virginia University Libraries], 2000. http://etd.wvu.edu/templates/showETD.cfm?recnum=1768.

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Thesis (Ph. D.)--West Virginia University, 2000.<br>Title from document title page. Document formatted into pages; contains v, 277 p. Includes abstract. Includes bibliographical references (p. 268-277).

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46

Lapeyre, Jason. "Mickey Mouse and the Nazis the use of animated cartoons as propaganda during World War II /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0019/MQ59182.pdf.

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47

Schnoor, Andrea. "Redefining masculinity : the image of civilian men in American home front documentaries, 1942-1945." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1133730.

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Redefining Masculinity presents an analysis of the American government's portrayal of civilian men in World War II documentary films. The majority of the films, which serve as a primary source for this study, were created by the Office of War Information (OWI) as a means of stimulating home front support for the war. The government's portrayal of civilian men advocated a significant modification of gender roles. According to the OWI, men understood the politics of war, were aware of the national context of sacrifices, and were able to carry the government's message into American households and

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48

Girotto, Breno. "A vitória dos vencidos : política e identidade no filme O Álamo, de John Wayne /." Assis, 2019. http://hdl.handle.net/11449/181854.

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Orientador: Carlos Alberto Sampaio Barbosa<br>Banca: José Luis Bendicho Beired<br>Banca: Mary Anne Junqueira<br>Resumo: Em 1960 era lançado o filme O Álamo, dirigido, produzido e protagonizado por John Wayne, um dos maiores atores de Hollywood. O Álamo tratava da história de 180 combatentes que tomaram o forte de mesmo nome para lutar contra as tropas mexicanas lideradas pelo presidente General Antonio Lopes de Santa Anna. O filme de Wayne retrata um evento controverso da história compartilhada entre México e Estados Unidos. A Batalha do Álamo, como ficou conhecido o conflito revivido pelo fil

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49

Goodland, Giles. "Modernist poetry and film of the Home Front, 1939-45." Thesis, University of Oxford, 1992. http://ora.ox.ac.uk/objects/uuid:cbc4f071-0e64-4a07-866d-ba83359262cb.

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This thesis is an exploration of the links between modernist literature and film and society at a period of historical crisis, in Gramscian terms a moment of national 'popular will'. In general, these works are informed by a greater organicity of form, replacing the previous avant-garde model of a serial or mechanical structure. This organicity, however, maintains an element of disjunction, in which, as with filmic montage, the organicity is constituted on the level of the work seen as a totality. Herbert Read's aesthetics are shown to develop with these changes in the Thirties and the war yea

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50

Botha, Jacqueline. "The myth is with us : Star Wars, Jung's archetypes, and the journey of the mythic hero." Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019/506.

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