To see the other types of publications on this topic, follow the link: War and film.
Dissertations / Theses on the topic 'War and film'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'War and film.'
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.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Gladman, Matthew J. "Film Noir--Purveyor of Cold War Anxiety." Ohio University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1293817877.
Full text
2
Castrillo, Pablo Ignacio. "Angel Of War." Digital Commons at Loyola Marymount University and Loyola Law School, 2013. https://digitalcommons.lmu.edu/etd/9.
Full text
3
Garcia-Painter, Meredith. "The Wedding War." Digital Commons at Loyola Marymount University and Loyola Law School, 2019. https://digitalcommons.lmu.edu/etd/784.
Full text
4
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/.
Full textAbstract:
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. This gap, I will argue, is symptomatic of the cultural climate that existed after each war, but can also be understood in terms of the need for temporal space in which to assimilate the traumas of these wars. An engagement with recent debates in Trauma Theory will be utilised to explore this production gap between event and film, and to suggest that trauma exists not only within the narratives of these focus films but also within the production process itself. This thesis contributes significantly to recent debates in Trauma Studies. As it presents film history scholarship, First World War and Vietnam veteran experiences and archive newspaper research as compatible disciplines and uses the lens of trauma theory as a methodological thread and tool of analysis.
5
Boyle, Brenda Marie. "Prisoners of war formations of masculinities in Vietnam war fiction and film /." Connect to this title online, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1060873937.
Full text
6
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.
7
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.
Full textAbstract:
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 recently developed by Derek Gregory within the theoretical framework of Critical Geography. What he calls “corpography” implies a constant re-mapping of landscape through the soldier's body. Gregory's assumptions can be used as a connection between already established theories of cartographic film narration and ideas of (neo)phenomenological film experience, as they also imply the involvement of the spectator's body in sensuously grasping what is staged as a mediated experience of war. While cinematic codes of war have long been oriented almost exclusively to the visual, the notion of corpography can help to reframe the concept of film genre in terms of expressive movement patterns and genre memory, avoiding reverting to the usual taxonomies of generic texts. The thesis focuses on selected films exemplary of the aesthetic continuities and changes in American cinema's audio-visual representation of war (with each chapter centring on a specific military conflict and historical constellation): All Quiet on the Western Front (1930), Paths of Glory (1957), Objective, Burma! (1945), Fury (2014), Men in War (1957), The Boys in Company C (1978), Rescue Dawn (2006), and Zero Dark Thirty (2012).
8
Enticknap, Leo Douglas Graham. "The non-fiction film in post-war Britain." Thesis, University of Exeter, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302538.
Full text
9
Steinwender, Harald. "Sergio Leone Es war einmal in Europa." Berlin Bertz + Fischer, 2008. http://d-nb.info/994036965/04.
Full text
10
Rehm, David. "Hero at war and survivor at home| The evolving image of the American war hero in Iraq and Afghanistan war films." Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1597788.
Full textAbstract:
Media and culture are interrelated, which shapes what is culturally relevant. War films reflect a culture?s view on war as well as the viability of a culture?s mythology of war. Grounded in the concepts of war myth and genre, this thesis takes the stance that the Iraq and Afghanistan War film genre transforms the image of the American warrior. Iraq and Afghanistan War films, specifically The Hurt Locker, Green Zone, Lone Survivor, and American Sniper illuminate the destructive reality of war and the humanness of the warrior hero. They reaffirm the warrior?s heroism and sacrifice while also acknowledging war as damaging to the warrior?s psyches, hearts, minds, and bodies.
11
Buckle, Christopher. "The 'War on Terror' metaframe in film and television." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/3014/.
Full textAbstract:
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 towards those countries labelled the ‘Axis of Evil’ or ‘Outposts of Tyranny’ is as much a manifestation of the metaframe as the ‘Shock and Awe’ bombing of Baghdad. As a rhetorical frame, it is created through all of its utterances; its narrative may have been initially scripted by the Bush administration, but it is reified and naturalised by the news media and other commentators, who adopt the frame’s language even when critical of its content. Moreover, film and television texts participate in this process, with fiction-based War on Terror narratives sharing and supporting – co-constituting – the War on Terror discourse’s ‘reality’. This thesis argues that the War on Terror metaframe manifests itself in multiple interconnected narrative forms, and these forms both transcode and affect its politics. I propose a congruency between the frame’s expansiveness and its associational interconnections, and a corresponding cinematic plot-structure I term the Global Network Narrative. Elsewhere, an emphasis on the pressures of clock-time is evoked by the real-time sequential-series 24, while the authenticity and authority implied by the embedded ‘witness’ is shown to be codified and performed in multiple film and television fiction texts. Throughout, additional contextual influences – social, historical, and technological – are introduced where appropriate, so as not to adopt the metaframe’s claims of limitlessness and uniqueness, while efforts are made to address film and television not as mutually exclusive areas of study, but as suggestively responsive to one another.
12
Chapman, James. "Official British film propaganda during the Second World War." Thesis, Lancaster University, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.308985.
Full text
13
Burns-Watson, Roger. "Co-Starring God: Religion, Film, and World War II." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1273520794.
Full text
14
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.
15
Raabe, Bianca. "Filmkriege? Visualisierungsformen gewaltsamer Konflikte." Marburg Tectum-Verl, 2008. http://d-nb.info/995736081/04.
Full text
16
Hall, Kenneth Estes, and Chritian Krug. "Noir Westerns after World War II." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/590.
Full textAbstract:
Excerpt: Towards the end of Ethan and Joel Coen's Academy-Award winning No Country for Old Men (2007), Carla Jean Moss's life depends on the toss of a coin. Heads or tails will decide whether she lives or dies.
17
Seidl, Carolin. "Es war einmal." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2009. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-23600.
Full text
18
Krauss, William. "Children of the War." Digital Commons at Loyola Marymount University and Loyola Law School, 2019. https://digitalcommons.lmu.edu/etd/790.
Full textAbstract:
In 1948 post-war Berlin, a mother, whose son was stolen from her during the war, implicates the woman that the Nazis gave him to in a Soviet spy ring, but soon realizes that her son's adoptive mother might be able to give her son a better life than she can and her actions put him in mortal danger.
19
Buckley, Reka Christina Vanessa. "The female film star in post war Italy (1948-1960)." Thesis, Royal Holloway, University of London, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.665973.
Full text
20
Weinberg, Ari Marie. "Songsters and Film Scores: Civil War Music and American Memory." W&M ScholarWorks, 2017. https://scholarworks.wm.edu/etd/1516639562.
Full textAbstract:
This thesis consists of two separate essays both concerned with affect, memory, and music of the Civil War. The first examines the production, use, and purpose of a booklet called The Soldier’s Friend, with an emphasis on the mission of its producer, the United States Sanitary Commission and the needs of the readers of the booklet. In addition, I highlight the explicit connections that the organization made in this document between health and music by bringing cultural and psychological theories to the study of music. While many scholars have emphasized the ubiquity and importance of music during the War (and during the greater nineteenth century), a thorough discussion of the importance of songsters is mostly missing from the narrative. My paper ultimately provides an initial insight into the prominence of songsters in American culture by tying together methods from multiple disciplines. In my second essay, I argue that Max Steiner’s film score in Gone with the Wind aids Rhett Butler’s transition from a renegade man to a southern gentleman. His transformation carries with it messages and memories of the Lost Cause, most notably through Civil War melodies. Ultimately, I conclude that affect, music, and memory are intricately tied in the production of and actualization of southern, white, masculinity.
21
Dunlap, Robert. "Ordinary Heroes: Depictions of Masculinity in World War II Film." Miami University Honors Theses / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1177682964.
Full text
22
Middleton, Alexis Turley. "A true war story : reality and fiction in the American literature and film of the Vietnam War /." Diss., CLICK HERE for online access, 2008. http://contentdm.lib.byu.edu/ETD/image/etd2467.pdf.
Full text
23
Middleton, Alexis Turley. "A True War Story: Reality and Simulation in the American Literature and Film of the Vietnam War." BYU ScholarsArchive, 2008. https://scholarsarchive.byu.edu/etd/1492.
Full textAbstract:
The Vietnam War has become an important symbol and signifier in contemporary American culture and politics. The word "Vietnam" contains many meanings and narratives, including both the real events of the American War in Vietnam and the fictional representations of that war. Because we live in a reality that is composed of both lived experience and simulacra, defined by Baudrillard as a hyperreality, fiction and simulation are capable of representing particular realities. Vietnam was shaped by simulacra of Vietnam itself as well as simulacra of previous American conflicts, especially World War II; however, the hyperreality of Vietnam differed largely from that of World War II. Francis Ford Coppola's Apocalypse Now and Tim O'Brien's The Things They Carried are highly fictionalized texts that accurately portray particular realities of Vietnam. These texts are capable of presenting truth about Vietnam through their use of specific metafictional techniques, which continually remind readers and viewers that the story being told is not reality but a story. By emphasizing the fictional elements of their narratives, Apocalypse Now and The Things They Carried point to the constructed nature of reality and empower readers to recognize the possibility of truth in different, even conflicting, narratives.
24
Sexton, Jamie. "The emergence of an alternative film culture in inter-war Britain." Thesis, University of East Anglia, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.269646.
Full text
25
Trafton, John. "Genre memory in the twenty-first century American war film : how post-9/11 American war cinema reinvents genre codes and notions of national identity." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/3583.
Full textAbstract:
In this thesis, I argue that twenty-first century American war films are constructed in dialogue with the past, repurposing earlier forms of war representation by evoking the visual and narrative memory of the past that is embedded in genre form—what Mikhail Bakhtin calls 'genre memory.' Comparing post-9/11 war films with Vietnam War films, my project examines how contemporary war films envision war's impact on culture and social space, explore how war refashions ideas about race and national identity, and re-imagine war's rewriting of the human psyche. My research expands on earlier research and departs from traditional approaches to the war film genre by locating the American Civil War at the origin of this genre memory, and, in doing so, argues that nineteenth century documentation of the Civil War serves as a rehearsal for the twentieth and twenty-first century war film. Constructed in explicit relation to the Vietnam film, I argue that post-9/11 war films rehearse the history of war representation in American culture while also emphasizing the radically different culture of the present day. Rather than representing a departure from past forms of war representation, as has been argued by many theorists, I show that contemporary American war films can be seen as the latest chapter in a long history of reimagining American military and cultural history in pictorial and narrative form.
26
Davie, Gavin. "The Hero Soldier: Portrayals of Soldiers in War Films." Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3064.
Full textAbstract:
The mythos of the hero has existed within the stories of humanity for as long as we can remember. Within the last hundred years film has become one of the dominant storytelling media of our culture and numerous films, especially war films, about heroes and their inspirational actions have been made. This study focuses on war films and the hero soldiers and their actions portrayed in those films. It uses a narrative analysis of five war films to accomplish this. The findings suggest that the hero soldier has become more human and fallible over time and that heroes are a constantly changing entity. These changes do not reach down to the fundamental levels of hero makeup. At the core and archetypal level the hero remains the same. However, the hero soldier has become more flawed over time descending from invincible demi-god to a fallible human. This change is due to the merger between the hero and non-hero characters, and the incorporation of their traits into one another.
27
Selfe, Melanie. "The role of film societies in the presentation and mediation of 'Culural' film in post-war Nottingham." Thesis, University of East Anglia, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.445528.
Full textAbstract:
This thesis seeks to change the emphasis created by the highly selective, available history of the British film society movement. It looks beyond the radical politicised and avant-garde groups of the 1930s to consider the substantial role that the largely apolitical post-war movement played in developing `film appreciation' and a notion of quality cultural film. Employing a detailed case history, it traces voluntary film exhibition in the city of Nottingham during a period of boom and flux for the movement (1945-1960). It maps film society ethos and practice against both an unstable local cinema environment and developments at the British Film Institute, assessing the impact of both. A primary concern within this study has been to explore the networks of cultural power involved in the local exhibition of international cinema. It finds that film societies operating outwith London had a deeply contradictory relationship to both the local and the national. On one hand, their desire to be part of international film culture led them to ally themselves to the values of a metropolitan-led cosmopolitan film culture which was often disdainful of provincial tastes; on the other, they sought to position themselves as organisations of and for the local community. Nonetheless, they played an important role in mediating written discourses on film which still hold relevance for art-house exhibition today. They presented ideas such as national cinema and directorial authorship to local audiences, grounding them in programming practice. This thesis posits that the post-war film society movement and the BFI both contributed to the development of a `serious' approach to `grown-up' film culture. However, changing commercial exhibition and increased central funding strengthened the position of the BFI, leading to the establishment of subsidised Regional Film Theatres - the first of which was welcomed by the film society in Nottingham in 1966
28
Iannone, Pasquale. "Childhood and the Second World War in the European fiction film." Thesis, University of Edinburgh, 2011. http://hdl.handle.net/1842/5654.
Full textAbstract:
The classically idyllic, carefree world of childhood would appear to be diametrically opposed to the horrors of war and world-wide conflict. However, throughout film history, filmmakers have continually turned to the figure of the child as a prism through which to examine the devastation caused by war. This thesis will investigate the representation of childhood experience of the Second World War across six fiction films: Roberto Rossellini’s Paisan (1946) and Germany Year Zero (1947), René Clément’s Forbidden Games (1952), Andrei Tarkovsky’s Ivan’s Childhood (1962), Jan Nemec’s Diamonds of the Night (1964) and Elem Klimov’s Come and See (1985). Spanning forty years, I will examine how these films, whilst sharing many thematic and formal concerns, are unquestionably diverse. They are products of specific socio-cultural milieux, but are also important works in the evolution of cinematic style in art cinema. The films can be aligned to various trends such as neorealism (Paisan, Germany Year Zero), Modernism (Ivan’s Childhood, Diamonds of the Night) and Neo-expressionism (Come and See). Structured in four parts – on witness, landscape, loss and play – I will suggest that just filmmakers utilise childhood experience – often fragmented and chaotic in terms of temporality - to reflect the chaos of war. The first part of my study focuses on the child as witness, the child as Deleuzian seer. I draw on the writings of Gilles Deleuze as well as post-Deleuzian interventions of Tyrus Miller and Jaimey Fisher to argue that whilst Deleuze’s characterization of the child figure as passive is somewhat problematic when applied to the neorealist works, it can, however, be more rigorously applied to Come and See, a film in which, I suggest, the child embodies a much purer form of the Deleuzian seer. In the second part of my study, drawing on the work of Martin Lefebvre and Sandro Bernardi amongst others, I discuss the representation of landscape and its relation to the figure of the child. The third part will examine the representation of loss as well as the symbolic quality of water and its links to the maternal with reference to psychoanalytic theory and the poetry of Rabindranath Tagore. The fourth and final part also draws on psychoanalysis in examining the role of play in the six films with particular reference to the work of D.W Winnicott and Lenore Terr. My study seeks to contribute to the comparatively under-explored subject of the child in film through close analysis of film aesthetics including mise-en-scène, editing, and film sound.
29
Clay, Andrew Michael. "The dramatization of professional crime in British film 1946-1965." Thesis, De Montfort University, 2003. http://hdl.handle.net/2086/4076.
Full text
30
White-Stanley, Debra Marie. "Foreign Bodies: Military Medicine, Modernism and Melodrama." Diss., The University of Arizona, 2006. http://hdl.handle.net/10150/195151.
Full textAbstract:
Foreign Bodies: Military Medicine, Modernism and Melodrama traces how representations of warfare in the modernist novel, girls' romances, nursing memoirs, and war films dramatize the humanitarian disaster of war through the figure of woman. My analysis focuses on the visual and literary poetics of violence as troped in and through the bodies of combat nurses. The "uncanny" serves as a lens to explore the complex links between gendered war work and the radical transgression of the boundaries of the nation state and the body experienced during wartime. To establish the unique explanatory power of the uncanny for gender issues, I trace how feminist and postcolonial theorists have revised Freud's analysis of the uncanny. I trace medical metaphors of wounding and infection in the novel and various cinematic adaptations of A Farewell to Arms (1932, 1951, 1957, 1996). I read the letters and diaries of World War I nurse Agnes von Kurowsky against the censored memoirs of American nurses Mary Borden and Ellen La Motte. I show how the uncanny aesthetic adopted by Ernest Hemingway in A Farewell to Arms is subverted by these women writers. I explore how these uncanny aesthetics also manifest in adolescent nursing romances from Sue Barton to Cherry Ames. With the onset of World War II, I trace how the discourse of foreign bodies in relation to the metaphor of malaria in the South Pacific. Focusing on the portrayal of the Japanese foreign body, often encoded through off-screen sound, I demonstrate how medical metaphors of malaria operate in films portraying nursing in the South Pacific such as So Proudly We Hail (1943) and Cry Havoc (1943). Turning to the Korean and Vietnam Wars, I explore the representation of post-traumatic stress disorder in M*A*S*H (1970) and in nursing memoirs such as American Daughter Gone to War (1992) and Home Before Morning (1983). I bring this history of nursing representation to bear on media texts concerning the war in Iraq including Baghdad E.R. (HBO, 2006).
31
Pelster-Wiebe, Richard. "In the jaws of death: Leon Caverly’s camera-history of World War I." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6663.
Full textAbstract:
This dissertation argues that a critical anti-war cinema emerged with the birth of the so-called war documentary during World War I. Focusing on Leon Caverly, the first official war cinematographer of the United States military, I that argue America’s first war propaganda films gave birth to America’s first anti-war cinema. Military-produced images of World War I are available in various archives such as the Library of Congress, the National Archives, and the Marine Corps History Center. In addition to unedited reels of war related footage, the archives hold propaganda films such as Pershing’s Crusaders (1918), America’s Answer (1918) and Under Four Flags (1918). These feature films were shot by cameramen in the Marines or the Signal Corps and then edited into works of propaganda by the United States Government’s Committee on Public Information. Caverly was the first cameraman to join the effort of filming at the front. While he was a Marine and an instrumental player in America’s propaganda program, he also completed a cinematic history of the Great War through his creative nonfiction camerawork that was more subtle and critical than conventional war documentaries would suggest.
Previous studies of World War I propaganda provide context for America’s cinematic efforts or profiles of individual cameramen. But little or no attention has been paid to formal analysis of the films themselves. Furthermore, scholars have not yet regarded these films as anything other than examples of early documentary or government propaganda. The same holds true concerning Leon Caverly. Not only was Caverly the first United States war cinematographer, but the most significant work of propaganda made during the war was composed of footage shot entirely by him. Released in 1918, America’s Answer captivated audiences in America and Europe, providing inspiration for the home front to support the war. However, a striking discrepancy exists between the content of Caverly’s shots and the rhetorical editing structure of the film. In contrast to the pro-war sentiment articulated by the editing and its intertitles, America’s Answer’s individual shots reveal a practice of camera-writing that represents an aesthetics of anti-war cinema at odds with pro-war propaganda.
Caverly’s work does not show the horrors of war with documentary realism. Nor does his work openly critique America’s war effort. Rather, Caverly aspires to be a camera-historian whose moving images and photographic work demonstrate a preoccupation with writing history steeped in the temporal aesthetics of the camera arts. This dissertation considers still and moving image practices that “write with time” such as double-exposures, shots that emphasize duration, moving camera shots that evoke temporal relationships, and framing that gives metaphorical expression to time. The fact that these practices appear in Caverly’s wartime work indicates that World War I footage has a greater significance for film history than simply exemplifying documentary realism or propaganda. This dissertation shows that, while the most harrowing aspects of World War I combat remain unseen in Caverly’s work, his creative camera-writing approaches war and the fragility of life in unconventional ways.
32
Rich, Philip. "The culture of cruising : Post-war images form the NMM'S film archive." Thesis, University of Sheffield, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.527202.
Full textAbstract:
This thesis examines a film collection held at the National Maritime Museum, Greenwich and seeks to establish the historical, cultural and aesthetic legacy of the post-war promotional cruise film. The textual and contextual analysis reveals the cruise film's unique reflection of an era of ideological, social and stylistic change. The thesis establishes an institutional and aesthetic history of the cruise film, focusing on the output of Orient Line, P&O, Union Castle and Cunard. The circumstances surrounding production of promotional material are explored, along with the ideological, commercial and stylistic legacy of the British Documentary Movement and British Transport Film initiative. Prototypical pre-war examples of the form are foregrounded and compared to the films produced through the 1960s. Alongside the cruise film's commercial and aesthetic origins, the thesis explores the image of the ship itself, as an eternal signifier of progress, divinity and nation. The cultural history of the ship as a signifier is traced alongside the visual discourses used to picture This thesis examines a film collection held at the National Maritime Museum, Greenwich and seeks to establish the historical, cultural and aesthetic legacy of the post-war promotional cruise film. The textual and contextual analysis reveals the cruise film's unique reflection of an era of ideological, social and stylistic change. The thesis establishes an institutional and aesthetic history of the cruise film, focusing on the output of Orient Line, P&O, Union Castle and Cunard. The circumstances surrounding production of promotional material are explored, along with the ideological, commercial and stylistic legacy of the British Documentary Movement and British Transport Film initiative. Prototypical pre-war examples of the form are foregrounded and compared to the films produced through the 1960s. Alongside the cruise film's commercial and aesthetic origins, the thesis explores the image of the ship itself, as an eternal signifier of progress, divinity and nation. The cultural history of the ship as a signifier is traced alongside the visual discourses used to picture This thesis examines a film collection held at the National Maritime Museum, Greenwich and seeks to establish the historical, cultural and aesthetic legacy of the post-war promotional cruise film. The textual and contextual analysis reveals the cruise film's unique reflection of an era of ideological, social and stylistic change. The thesis establishes an institutional and aesthetic history of the cruise film, focusing on the output of Orient Line, P&O, Union Castle and Cunard. The circumstances surrounding production of promotional material are explored, along with the ideological, commercial and stylistic legacy of the British Documentary Movement and British Transport Film initiative. Prototypical pre-war examples of the form are foregrounded and compared to the films produced through the 1960s. Alongside the cruise film's commercial and aesthetic origins, the thesis explores the image of the ship itself, as an eternal signifier of progress, divinity and nation. The cultural history of the ship as a signifier is traced alongside the visual discourses used to picture it within the cruise film. The 1960s cruise ship and its filmic representation is examined as a floating microcosm of emergent hedonistic and capitalistic tendencies. In an era of empowerment, liberation and increasing individualism, the cruise film balanced the traditional with the contemporary in its sometimes conflicted portrayals of life at sea. The final chapter of the thesis is devoted to the cruise film's reflection of fading British colonialism. As the British Empire fragmented and political liberalism spread throughout a new generation of young people, the cruise film's latent traditionalism and nationalism became anachronistic. Yet, beneath its swinging '60s aesthetic, the post-war cruise film continued to market its product as an implicit emulation of the colonial process. In conclusion, light is shed on the cruise film's paradoxical position, as advertisers sought to retain the allure of the ocean voyage in an era of mainstream jet travel.
33
De, Mello Ceceila Antakly. "Everyday voices : the demotic impulse in post-war English film and television." Thesis, Birkbeck (University of London), 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.429421.
Full text
34
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.
Full textAbstract:
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 years. The work of H.D. and T.S. Eliot is explored in the light of these new structural elements, and the formal questioning of the subject through the interplay of 'we' and montages of location and address in the poems. The pre-war years are portrayed in these works as a time of shame, and the war as a possible means of redemption, perhaps through suffering, or through the new subjectivity of the wartime community. The documentary movement provides an opportunity to trace these formal changes in a historical and institutional context, and with the work of Dylan Thomas, the relations between mass and high culture, film and poetry, are investigated, as well as the representation of the Blitz, in which guilt is sublimated into celebratory transcendence. These aspects, and the adaptation of a European avant-garde to meet British cultural needs, are examined in the work of the Apocalyptic movement. The last structure of feeling is reconstruction, which is related to Herbert Read's thought, but shown to inform all these other works and to be a linking-point between ideology and the structure of the text, formed as an organic unity that promises a reconstructed post-war society.
35
Gunoe, Andrea M. "The Physical Theatre of War: Language, Memory, and Gender in Black Watch and War Horse." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3725.
Full textAbstract:
The public's perception of war is influenced by every media story they see, every account they read, and every story they hear. News telecasts and newspapers tend to lean towards a focus of the grand narratives of war such as political involvement and overarching strategy. Media such as books and film can tell a more personal narrative of the events of war and attempt to display how war "really is" through the use of written and visual language that focuses more on how things happened as opposed to simply what happened. Theatre provides a unique perspective on war as the audience and performers are in a shared space with performed events of war that are live and embodied by individual performers. Theatre's unique attributes focus the audience towards a perception of the individual and his/her experience in war through the embodiment that is happening right in front of the audience. Physically based theatre narrows that existing theatrical focus to the body specifically in a way that makes the individual physical experience of the soldier the primary narrative. The politics and strategies of war will always be a secondary focus to the human body in the theatrical context. In this thesis, I examine two productions that come out of the United Kingdom in 2007: The National Theatre of England's War Horse and The National Theatre of Scotland's Black Watch. Through a close reading of these two productions I demonstrate physical-theatre's ability to highlight the human experience and importance in war as it focuses on the individual body and its relationships with other individuals. As these works are accessed through an examination of the visual and stylized language of physical theatre, the creation and recollection of memory in war stories, and the significance of gender in war, the humanizing representations imbedded in physical-theatre become evident. This thesis comes as the United States and the United Kingdom are involved in conflicts across the globe; some in continuation of the same conflicts that existed at the time these two productions were produced. Soldiers have continued to face astonishing hardships in these endeavors. By highlighting the individual experience and human involvement in war, theatre going public perception can be drawn towards an awareness of the individuals who go to war and away from alienating images of and idealized soldier figures fighting for an overarching political cause.
36
Barnes, Christopher. "Mediating Terror: Filmic Responses to September 11th, 2001, and the "War on Terror"." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1341932373.
Full text
37
Hammond, Michael. "The big show : cinema exhibition and reception in Britain in the Great War." Thesis, Southampton Solent University, 2001. http://ssudl.solent.ac.uk/1226/.
Full text
38
Schupp, Janina. "Audiovisual battlefields : the remediation of cinema and media imagery and technologies in military urban conflict simulations." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/275654.
Full textAbstract:
Since the end of the Cold War, the combined influence of audiovisual media, modern urban conflicts and asymmetric enemies has generated a new kind of military live training simulation to prepare soldiers for future combats. These novel hybrid exercise battlefields are situated in artificially constructed urban spaces and integrate real physical training with techniques and imagery inspired by the fields of cinema and media. This thesis critically examines this convergence of entertainment practices and images in military training and the resulting, potentially negative, impacts on the execution of warfare and perception of urban spaces and populations. The thesis begins by tracing the evolution of terrain representations in wargames – from black and white squares, painted landscape elements and actual maps, to virtual environments, miniature houses and real-scale architectures. The historical relationship between the film industry and military training is analysed in order to explore the emergence of cinematic components in simulated combat training landscapes that brought the flat world of wargames to its real third dimension. The mock urban training space is then investigated as a “meta-cinematic city” – a city created through cinematic tools, including set and sound design, which portrays a cinematic city (a city as represented through a filmic medium). This analysis focuses on how cinematic elements, such as creative geographies and architectural sequences, are created in order to train for the subversion of traditional conceptions of urban spaces and architectural elements in urban combats. Furthermore, the examination reveals how the sensory qualities of moving image technologies are employed to generate a multi-sensory “hyperrealism” and “hyperimmersion” to train physical and emotional reactions and engrain military responses to combat stimuli. The analysis furthermore excavates both the conscious and unconscious remediation of media imagery and practices in the creation of the artificial “human terrain”. The mise-en-scène of the enemy population is investigated in order to uncover how the simulation of “foreign” and “alien” identities is increasingly based on the media coverage of these population groups. The analysis critically considers how the resulting role-play reproduces self-perpetuating stereotypes that pre-shape the soldiers’ perception of populations. Lastly, the thesis explores how artificial media cycles are generated as part of the combat training to prepare soldiers’ self-representation and communication skills under unpredictable, straining circumstances and to effectively communicate the army’s message to the world. This section especially focuses on the growing military “weaponisation” of the media, which has now begun to market the military training itself as an entertainment attraction to worldwide audiences – thus closing the circle between entertainment and military practices and subsuming the population in the war preparation. With entertainment and marketing imagery, technologies and concepts now at the core of military preparation, stereotypes of population groups and urban spaces and a “de-realization”, “gamification” and “sanitisation” of warfare are increasingly carried over into real conflicts, thus affecting critical decisions as a result of entertainment-based conditioning. Furthermore, to ensure public support, the general population is turned into an indispensable part of military training through participatory video games, social media and training centre visits and consequently becomes increasingly complicit in the merging of entertainment and military practices and subject to the same remediated preconceptions.
39
Hansen, Signe. "From chef to superstar : food media from World War 2 to the World Wide Web." Doctoral thesis, University of Cape Town, 2007. http://hdl.handle.net/11427/10632.
Full textAbstract:
Includes bibliographical references (p. 305-338).This thesis examines representations of food in twenty-first century media, and argues that the media obsession with food in evidence today follows directly from U.K. and U.S. post-war industrial and economic booms, and by the associated processes of globalisation that secure the spread of emergent trends from these countries to the rest of the so-called Western world. The theoretical frame for the work is guided in large part by Guy Debord's Society of the Spectacle (1967), which follows a Marxist tradition of examining the intersection between consumerism and social relationships. Debord's spectacle is not merely something to be looked at, but functions, like Marx's fetishised commodity, as a mechanism of alienation. The spectacle does this by substituting real, lived experience with representations of life. Based on analyses of media representations of food from the post-war period to the present day, the work argues against the discursive celebration of globalisation as a signifier of abundance and access, and maintains, instead, that consequent to the now commonplace availability of choice and information is a deeply ambiguous relationship to food because it is a relationship overwhelmingly determined by media rather than experience. It further argues that the success of food media results from a spectacular conflation of an economy of consumerism with the basic human need to consume to survive. Contemporary celebrity chefs emerge as the locus of this conflation by representing figures of authority on that basic need, and also, through branded products (including themselves), the superfluity of consumerism. The subject of the work, therefore, is food, but the main object of its critique is media. Food media from World War 2 to the World Wide Web is about the commodification of history and politics, through food, and the natural (super)star of this narrative is the modern celebrity chef.
40
Pereira, Joshua R. "GRAND: A Short Film." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2235.
Full textAbstract:
In this paper I will describe the creative process throughout the making of my short film thesis GRAND. I will describe this in three parts: pre-production, wherein I will detail developing the concept, writing the script, and funding/preparing for production; production, wherein I will detail the set construction, visual planning, and the day-to-day operations on set; and post-production, wherein I will detail the editing of the film and the composition of the score. All of this will be framed in reference to the proposed theme of the film, and I will conclude by evaluating whether or not the finished short film achieves what I initially set out to achieve.
41
Smihula, John Henry. ""Where a thousand corpses lie" critical realism and the representation of war in American film and literature since 1960 /." abstract and full text PDF (free order & download UNR users only), 2008. http://0-gateway.proquest.com.innopac.library.unr.edu/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3339147.
Full text
42
Huber, Katja [Verfasser]. "Aelita - als morgen gestern heute war : Die Zukunftsmodellierung in Jakov Protazanovs Film / Katja Huber." Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 1998. http://d-nb.info/1165479133/34.
Full text
43
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.
Full textAbstract:
Thesis (MA)-- Stellenbosch University, 2013.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 as a prisoner of war (POW) in Angola before being exchanged for a Russian spy, Aleksei Koslov, at Checkpoint Charlie in Berlin in 1982. The main focus of the dissertation is to provide an analysis of representing history through film, with reference to Captor and Captive. It explores the manner in which history can be represented through the medium of film and add value to historical text, as well as historical text adding value to film, and how the two mediums can supplement each other. In this instance, Captor and Captive was produced first and the research conducted was used to inform the dissertation. It briefly discusses the history of documentary film within South Africa; the reality of producing documentary films reflecting on Captor and Captive and the theoretical principles involved in the craft of documentary filmmaking. The dissertation further provides details of the capture of Van der Mescht and his experience as a POW in Angola, against the backdrop of the Border War that waged between 1966 and 1989 in South West Africa (SWA) and Angola. The political landscape and various forces at work within southern Africa during the period of Van der Mescht’s capture are discussed. It also provides detail of the role of Van der Mescht’s captor Ashipala, and the liberation movement SWAPO. With independence in 1990, South West Africa became Namibia and will be referred to as such for the purpose of the dissertation. Mention will be made of other POWs during the Border War, providing a brief comparative analysis of their respective experiences.
AFRIKAANSE OPSOMMING: Die verhandeling is aanvullend tot die dokumentêre rolprent Captor and Captive – the story of Danger Ashipala and Johan van der Mescht (2010). Die rolprent het ‘n 52- minute speeltyd, en daar word daarna verwys as Captor and Captive. Dit handel oor twee soldate wat vasgevang is in die chaos van oorlog. Johan van der Mescht, lid van die Suid Afrikaanse Weermag, is in 1978 gevange geneem deur Danger Ashipala, lid van die Namibiese bevrydingsorganisasie SWAPO. Van der Mescht is as ‘n krygsgevangene in Angola aangehou, en 1982 uitgeruil vir ‘n Russiese spioen, Aleksei Koslov. Die uitruiling het by Checkpoint Charlie in Berlyn plaasgevind. Die verhandeling gee hoofsaaklik ‘n uiteensetting van die manier waarop geskiedenis aangebied word deur die visuele rolprentmedium, met verwysing na Captor and Captive. Die wyse waarop ‘n rolprent waarde kan toevoeg tot historiese teks, en hoe historiese teks op sy beurt weer waarde kan toevoeg tot ‘n rolprent word ondersoek, asook die wyse waarop die twee mediums mekaar kan aanvul. Captor and Captive is vervaardig voor die verhandeling aangepak is, en die navorsing is gebruik ter aanvulling van die verhandeling. Verder word die agtergrond en geskiedenis van dokumentêre rolprente in Suid Afrika kortliks bespreek; die realiteite rondom die vervaardiging van dokumentêre rolprente, met verwysing na Captor and Captive, en teoretiese aspekte betrokke by die vervaardiging daarvan. Die verhandeling verskaf inligting omtrent die gevangeneming van Van der Mescht en sy ondervinding as ‘n krygsgevangene in Angola. Dit word geskets teen die agtergrond van die Grensoorlog (1966 tot 1989) in Suidwes Afrika en Angola. Die politieke omgewing en groeperinge binne Suider Afrika gedurende Van der Mescht se gevangenisskap word bespreek. Verder word inligting oor Ashipala, wat verantwoordelik was vir Van der Mescht se gevangeneming bespreek. Die bevrydingsorganisasie SWAPO, waarvan hy ‘n lid was, word ook bespreek. Suidwes Afrika verander sy naam met onafhanklikheidswording in 1990 na Namibiё, en vir die doel van die verhandeling word daar na Namibiё verwys. Daar word melding gemaak van ander krygsgevangenes gedurende die tydperk van die Grensoorlog, en ‘n vergelyking tussen die ondervindinge van die onderskeie krygsgevangenes word kortliks ondersoek.
44
McKean, Jamoula. ""Doesn't he know who I am?" : Lebanese children's civil war : film, history, philosophy." Thesis, Goldsmiths College (University of London), 2010. http://research.gold.ac.uk/6452/.
Full textAbstract:
The thesis uses the theories of Giorgio Agamben in three major works: Homo Sacer, State of Exception, and Infancy and History, in conjunction with a seminal work by Paul Ricoeur Memory, History, Forgetting, to explore the narrative films of three Lebanese directors. Agamben writes about the bio political body which must declare itself as under the total subservience of the sovereign in order to attain its rights to citizenship. He points to the relationship of language acquisition and the socialising aspect of infancy. Ricoeur’s theories are based on the narrative and the functional aspects of memory. These films are made from the child’s point-of-view, and span the years of the Civil War, from 1975- 1990. Based on events in the capital city Beirut, these largely autobiographical films outline the circumstances of the war. The directors provide a visual portrayal demonstrating that language and gesture, within time and space, are particularly important when raising issues and debates around the relationships between the private and the public. The perspective of the social and political structures lead to an exploration of the importance of the placement of the pre pubescent child within this environment. Gender roles, in particular the relationship of fathers to sons within the patriarchal society, help to demonstrate how the cycle of power transmission may be subverted.
45
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.
Full textAbstract:
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 led censors to target communist films, foreign governments’ official films, and films echoing local political events. Among these films, those from China remained the primary target. During the period of political censorship, the Hong Kong government ignored the needs of local viewers and focused on reacting to external forces. The second chapter examines how in the 1960s local communists launched two campaigns against the suppression of Chinese films. It argues that the campaigns in 1965 and 1967 showed the influence of the Cold War, as these communists threatened the Hong Kong government that continued suppression of Chinese films would worsen Sino--‐‑British relations. It explains why the 1965 campaign succeeded in forcing the government to adjust its policy towards Chinese films but the one in 1967 did not. Since the late 1960s, Cold War tensions had been easing, particularly between China and Britain. The importance of political censorship and the external aspects of film censorship in Hong Kong started to diminish. Setting the stage for the localisation of film censorship in the 1970s, Chapter Three explores another duty of film censors in the 1960s, to examine sex and violence. By studying the debates about film classification and the censorship of the local film Death Valley (Duanhungu 斷魂⾕谷), this chapter argues that the government did not understand the goals of moral censorship even after examining films for more than twenty years. And it still did not sincerely engage with the Chinese population. The final chapter, on the 1970s, shows how the easing Cold War tensions directed the Hong Kong government to focus on moral censorship of films that was in accordance with the other social policies such as fighting prostitution and violent crime. Localisation of film censorship was followed by comprehensive reforms. The 1970s witnessed the government’s first serious attempt to engage the Chinese public in censoring films.published_or_final_version
History
Master
Master of Philosophy
46
Straw, Mark Christopher. "The damaged male and the contemporary American war film : masochism, ethics, and spectatorship." Thesis, University of Birmingham, 2011. http://etheses.bham.ac.uk//id/eprint/1711/.
Full textAbstract:
This thesis is about the depiction of the damaged male in contemporary American war films in the period 1990 to 2010. All the films in this thesis deploy complex strategies but induce simple and readily accessible pleasures in order to mask, disavow or displace the operations of US imperialism. It is my argument that the premier emotive trope for emblematising and offering up the damaged male as spectacle and political tool is the American war film. I also argue that masochistic subjectivity (and spectatorship) is exploited in these films, sometimes through using it as a radical transformative tool in order to uncover the contradictions and abuses in US imperial power, but mostly through utilizing its distinct narrative and aesthetic qualities in order to make available to spectators the pleasures of consuming these images, and also to portray the damaged male as a seductive and desirable subjectivity to adopt. The contemporary war film offers up fantasies of imperilled male psychologies and then projects these traumatic (or “weak”/“victimised”) states into the white domestic and suburban space of the US. Accordingly this enables identification with the damaged male, and all his attendant narratives of dispossession, innocence, and victimhood, and then doubles and reinforces this identification by threatening the sanctity and security of the US homeland. My argument builds towards addressing ethical questions of spectatorial passivity and culpability that surround our engagement with global media, and mass visual culture in the context of war. I ultimately identify ethical spectatorship of contemporary war films as bolstering a neo-liberal project advancing the “turn to the self”, and hence audiences could unwittingly be engaged in shoring up white male ethno-centricity and the attendant forces of US cultural and geopolitical imperialism.
47
McKenzie, Richard M. "The misogyny of the Trümmerfilm : space and gender in Post-War German film." Thesis, University of Reading, 2017. http://centaur.reading.ac.uk/69832/.
Full textAbstract:
Scholarly reviews of the Trümmerfilm1 have hitherto concentrated on the its redemptive qualities. In these readings of the films, the defeated German soldiers, Landser, or émigrés return to Germany and into the arms of their beautiful and faithful wives. The wives provide the safe space that the returned men need in order to be restored, reconciled and re-integrated into the new Germany. In this role, Germany’s women are responsible for ‘setting their men on course’ to rebuild the new nation and bring it out of its defeat. Robert Shandley has suggested2 that it is possible to view the original Trümmerfilm, Wolfgang Staudte’s 1946 film Die Mörder sind unter uns, through a genre lens, namely that of the Western movie. He notes that the genre expectations of this film were “thwarted” (Sieglohr, 2000, 99) by the intervention of the film’s female lead, but he does not carry this idea on by examining the gender implications of this thwarting, nor does he conduct a Cross-German study of the Trümmerfilm in its western and eastern forms to explore whether this is a trend. This thesis will build on Shandley’s comments and will first attempt to show whether the Trümmerfilm can indeed be seen as constituting a “genre” and then explore the implications of Shandley’s comments across eight Trümmerfilme, four from the western zones and four eastern zone. These films will be examined through the lenses of the Western and Kriminalfilm genres. These are used at Shandley’s suggestion and are genres that have clear sets of codes, spaces, gender relations and trope outcomes. This use of a genre lens reveals that male dominance of space is slowly ceded to the films’ leading women and the standard trope outcomes are “thwarted”, thereby contradicting trope expectations. The transgression of the expected genre expectations and ceding of the control of male spaces expose the implicit criticism of German women inherent in these films. The interpretation of the films thus changes from redemptive to critical and this study thereby exposes the misogyny of the Trümmerfilm.
48
Klotz, Sarah Beth. "Armed with cameras: The Canadian Army Film Unit during the Second World War." Thesis, University of Ottawa (Canada), 2004. http://hdl.handle.net/10393/26679.
Full textAbstract:
This thesis focuses on a previously undocumented part of Canadian military history: the Canadian Army Film Unit (CAFU). Like the official historians, war artists and photographers, the CAFU was to create an official record of Canada's Army in the Second World War. Although the National Film Board (NFB) was established in 1939, receiving complete control over the federal production of film in Canada, the CAFU was created in 1941 by the Department of National Defence outside of the mandate of the National Film Board Act. This caused a significant amount of conflict between the NFB and the Department of National Defence over which department would control the documentation of Canada's Army in the Second World War.
Reconstructing the history of the Canadian Army Film Unit from 1941 to 1945, this thesis analyses a number of issues that the Film Unit encountered in the production of its motion pictures. This chronological study explores the nature of filming during combat, censorship, distribution, and the soldier-cameramen's ongoing struggle with the NFB for control over the documentation of the war on film. (Abstract shortened by UMI.)
49
Whiteleather, Hagan Faye. "FROM RIVETER TO RIVETING: THE REBIRTH OF THE FEMME FATALE IN POST-WAR AMERICA." Kent State University Honors College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1431360238.
Full text
50
Chinen, Biesen Sheri Lynn. "Film noir and World War II : wartime production, censorship, and the "red meat" crime cycle /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.
Full text