Log in

Relevant bibliographies by topics / War and film / Journal articles

To see the other types of publications on this topic, follow the link: War and film.

Journal articles on the topic 'War and film'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles 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 journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

Frølunde, Lisbeth. "Animated war." Convergence: The International Journal of Research into New Media Technologies 18, no. 1 (January 31, 2012): 93–103. http://dx.doi.org/10.1177/1354856511419918.

Full text

Abstract:

In this feature article two DIY (do-it-yourself) film projects are examined from perspectives of resemiosis (transformations in meaning-making) and the textual production practices of contemporary multimedia authorship. These practices are considered as evolving in a complex media ecology. The two films analysed are Gzim Rewind (Sweden, 2011) by Knutte Wester, and In-World War (USA, expected 2011) by DJ Bad Vegan. The films are currently in production and involve many collaborators. Both films have themes of war and include film scenes that are ‘machinima’ – real-time animation made in 3D graphic environments – within live action film scenes. Machinima harnesses the possibilities of reappropriating digital software, game engines, and other tools available in digital media. War-related stories are resemiotized in the machinima film scenes as meanings are transformed in the story’s shift from a war game context to a film context. Thus machinima exemplifies how DIY multimedia storytellers explore new ways to tell and to ‘animate’ stories. The article contains four parts: an introduction to machinima and the notions of resemiosis and authorial practice; a presentation of DIY filmmaking as a practice that intertwines with new networked economics; an analysis of the two DIY film projects; and a discussion of implications including issues relating to IP (intellectual property) and copyrights when reappropriating digital assets from commercial media platforms.

APA, Harvard, Vancouver, ISO, and other styles

2

Chopra-Gant, Mike. "War and Film." Historical Journal of Film, Radio and Television 31, no. 1 (March 2011): 96–98. http://dx.doi.org/10.1080/01439685.2011.553421.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Saucier, Jeremy K. "War and Film." Journal of Popular Culture 44, no. 1 (February 2011): 187–89. http://dx.doi.org/10.1111/j.1540-5931.2010.00826_5.x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Curley, Stephen J., and Frank J. Wetta. "War Film Bibliography." Journal of Popular Film and Television 18, no. 2 (April 1990): 72–79. http://dx.doi.org/10.1080/01956051.1990.9943657.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Yatagai, Fumie. "War Memory and Mizoguchi’s Film." Tribhuvan University Journal 29, no. 1 (March 31, 2016): 41–46. http://dx.doi.org/10.3126/tuj.v29i1.25669.

Full text

Abstract:

This paper focuses on the Japanese film director called Kenji Mizoguchi who worked not only the making films but gave the caricature impact to the Japanese society. He was touching with the Japanese philosophy and spirit before and after the World War II. He described the common life of the Japanese life, especially tracing on how the women were dis-treated because of the context of the machismo in the public and at home. Also, the women were prohibited to have good education. The Japanese women at that time had a harsh moment to find their identity. For instance, as I experienced the poverty and discriminations just to be a women, Mizoguchi’s film encouraged me and opened a door to the new life.

APA, Harvard, Vancouver, ISO, and other styles

6

Pērkone, Inga. "War and Women in Jānis Streičs’ Films." Baltic Screen Media Review 6, no. 1 (December 1, 2018): 56–70. http://dx.doi.org/10.2478/bsmr-2018-0004.

Full text

Abstract:

Abstract This article is devoted to the theme of women and war in the films of Jānis Streičs, possibly the most influential Latvian film director. In the course of his career, which spanned nearly 50 years, Streičs made films that were popular in Latvia, as well as throughout the Soviet Union. He is one of the few Latvian film directors who managed to continue a comparatively stable career in the newly reindependent Republic of Latvia. Streičs skilfully used the canonised means of expression of classical cinema and superficially fulfilled the demands of socialist realism to provide appealing and life-asserting narratives for the audiences. Being a full-time film director at Riga Film Studio, and gradually becoming a master of the studio system, Jānis Streičs managed to subordinate the system to his own needs, outgrowing it and becoming an auteur with an idiosyncratic style and consistently developed topics.1 The most expressive elements of his visual style can be found in his war films, which are presented as women’s reflections on war. In this article, Streičs’ oeuvre in its entirety provides the background for an analysis of two of his innovative war films. Meetings on the Milky Way (Tikšanās uz Piena ceļa, Latvia, 1985) rejects the classical narrative structure, instead offering fragmentary war episodes that were united by two elements – the road and women. In Carmen Horrendum (Latvia, 1989) Streičs uses an even more complicated structure that combines reality, visions and dreams. After watching this film, the only conclusion we can come to with certainty is that war does not have a woman’s face and, in general, war has no traces of humanity. The aim of this article is to demonstrate how World War II, a theme stringently controlled by Soviet ideology, provided the impetus for a search for an innovative film language.

APA, Harvard, Vancouver, ISO, and other styles

7

White, Jerry. "Cold War Contexts: Pawlikowski in Film, Television, and European History." Film Quarterly 72, no. 3 (2019): 44–51. http://dx.doi.org/10.1525/fq.2019.72.3.44.

Full text

Abstract:

Jerry White compares Paweł Pawlikowski's new film Zimna wojna (Cold War, 2018) to Karpo Godina's classic Slovenian film Rdeči boogie ali Kaj ti je deklica (Red Boogie, 1982), discussing the narrative and thematic continuities between the two films in the context of Cold War history and cinema. White also explores Pawlikowski's prior incarnation as a British documentary filmmaker named Paul to suggest a curious evolution; that in returning to his native Poland in his most recent films (Cold War and Ida), Pawlikowski has gone astray, abandoning the authenticity of his early British films such as Last Resort for a muddled romantic vision.

APA, Harvard, Vancouver, ISO, and other styles

8

Shull, Michael S. "The War Film (review)." Film & History: An Interdisciplinary Journal of Film and Television Studies 36, no. 2 (2006): 63–65. http://dx.doi.org/10.1353/flm.2006.0036.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Shindler, Colin. "The Hollywood War Film." Historical Journal of Film, Radio and Television 30, no. 2 (June 2010): 231–33. http://dx.doi.org/10.1080/01439681003779226.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Ross, Rodney J. "The War Film (review)." Journal of Military History 69, no. 3 (2005): 896–97. http://dx.doi.org/10.1353/jmh.2005.0186.

Full text

APA, Harvard, Vancouver, ISO, and other styles

11

Zernetska, O. "The Development of Australian Culture in the XX Century: Australian Film Industry." Problems of World History, no. 11 (March 26, 2020): 174–200. http://dx.doi.org/10.46869/2707-6776-2020-11-10.

Full text

Abstract:

This article represents the first attempt in Ukraine of complex interdisciplinary investigation of the history of Australian film development in the XX-th century in the context of Australian culture. Analysing films in historical order the peculiarities of each decade are taken into consideration. The periods of silent films, sound films and colour films are analysed. The best film productions, their film directors and prominent actors are outlined. Special attention is paid to the development of feature films and documentaries. The article concentrates on the development of different film genres beginning with national historical drama, films of the first pioneers’ survival, adventure films. It is shown how they contribute to the embodiment in films of the main archetypes of Australian culture, the development of Australian identity. After World War I and World War II war films appear to commemorate the courage of the Australian soldiers in the war fields. Later on the destiny of the Australian women white settlers’ wives or native Australians inspired film directors to make them the chief heroines of their movies. A comparative analysis of films and literary primary sources underlying their scripts is carried out. It is concluded that the Australian directors selected the best examples of Australian national poetry and prose, which reveal the historical and social, cultural and racial problems of the country's development during the twentieth century. The publication dwells on boom and bust periods of Australian film making. The governmental policy in this sphere is analysed. Different schemes of film production and distribution are outlined to make national film industry compatible with the other film industries of the world, especially with the Hollywood. The area of a new discipline - Australian Film Studios - is studied as well as the works of Australian scholars. It is clarified in what Australian universities this discipline is taught. It is assumed that the experience of Australia in this sphere should be taken by Ukraine.

APA, Harvard, Vancouver, ISO, and other styles

12

Vande Winkel, Roel. "Film Distribution in Occupied Belgium (1940–1944)." TMG Journal for Media History 20, no. 1 (June 26, 2017): 46. http://dx.doi.org/10.18146/2213-7653.2017.280.

Full text

Abstract:

The military successes achieved by the Wehrmacht in the first years of World War II, provided Nazi Germany with the opportunity to realise a long-dormant ambition of cultural hegemony. This article, focusing on film distribution in German-occupied Belgium (1940–1944), investigates the concrete steps that were taken to bring this new cultural order into practice and identifies the obstacles the German Propaganda Division (‘Propaganda-Abteilung Belgien’) encountered. Through various measures, the number of Belgian film distributors, and the number of films offered by them, were reduced. The market position of German film in general and of German film distributors Ufa and Tobis in particular, was fortified. Nevertheless, these measures did not lead to a complete German market monopoly. This would have been politically undesirable, but also turned out to be economically impossible. Towards the end of the war, the cultural, ideological, but also the undeniable economic mission to make German films as strong as possible in occupied Belgium, proved incompatible with the German war economy.

APA, Harvard, Vancouver, ISO, and other styles

13

Barnard, Timothy P. "Film Melayu: Nationalism, modernity and film in a pre-World War Two Malay magazine." Journal of Southeast Asian Studies 41, no. 1 (December 21, 2009): 47–70. http://dx.doi.org/10.1017/s0022463409990257.

Full text

Abstract:

Prior to World War Two many of the Malay-language films released in Singapore and Malaya were made in Java and the Philippines. Beginning in 1940 the Shaw Brothers began producing Malay films in Singapore for distribution to their theatre network throughout Malaya. The first Malay film magazine, Film Melayu, which began publishing in May 1941, documented the production and release of a number of these pre-war films in Singapore, providing one of the few avenues for a better understanding of the origins of Malay cinema. More importantly, this periodical was firmly ensconced within the Malay publishing community and thus reflects debates over issues ranging from the proper script to use in publishing to technology and its relationship to the nation (or community, bangsa).

APA, Harvard, Vancouver, ISO, and other styles

14

Toffoletti, Kim, and Victoria Grace. "Terminal Indifference: The Hollywood War Film Post-September 11." Film-Philosophy 14, no. 2 (October 2010): 62–83. http://dx.doi.org/10.3366/film.2010.0044.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

Hawley, Steve. "War memorial: The Calling Blighty films and remembrance." Media, War & Conflict 12, no. 3 (April 2, 2018): 263–80. http://dx.doi.org/10.1177/1750635218763222.

Full text

Abstract:

The Calling Blighty series of nearly 400 films were messages from servicemen in India and Burma to be shown to families in local cinemas at the end of the Second World War. They are remarkable because of their cinematic quality and the men’s direct address to camera, and the 64 remaining films reveal much about family memories, public remembrance and representation of the Northern voice on screen. Along with Marion Hewitt of the North West Film Archive, the author has been engaged in an ongoing project to find the relatives of the men of the ‘Forgotten Army’ in the films and recreate the screenings. These ritual ceremonies of remembrance have been augmented by a media memorial, a Channel 4 TV documentary about the project and creative critical reflection through an experimental artist’s film, drawing on the archive material. This analysis of the project looks at the relationship of the Blighty films to wartime film and documentary, in particular, as well as soldier self-representation, and their implications for both family and communal remembrance.

APA, Harvard, Vancouver, ISO, and other styles

16

Wildermuth, David. "Unsere Mütter, Unsere Väter: War, Genocide and “Condensed Reality”." German Politics and Society 34, no. 2 (June 1, 2016): 64–83. http://dx.doi.org/10.3167/gps.2016.340204.

Full text

Abstract:

By most accounts, the March 2013 television event Unsere Mütter, Unsere Väter (UMUV) marks an important milestone in the evolving cinematic treatment of the Third Reich, World War II, and the Holocaust. Winner of the Goldene Kamera for best television film of 2013, UMUV could boast such positive reviews and sensational viewer ratings as few other television films in the almost seventy-year existence of the Federal Republic. Frank Schirrmacher, co-editor of the Frankfurter Allgemeine Zeitung, credited the film with ushering in “a new phase of the cinematic-historic treatment of National Socialism,” specifically praising Nico Hofmann, the film’s producer, for his “seriousness, attention to detail, and uncompromising” approach to the film. The Süddeutsche Zeitung praised it as “epochal” and “awaking the war in its entire monstrosity.” Der Spiegel lauded the film as “a new milepost of German cultural remembrance,” for posing “the most important [entscheidende] question for those born after: “how would I have acted?” Even Martin Schulz, the German president of the European Parliament, weighed in on the film, praising the film’s emphasis on the subjective perspectives of the protagonists. His argument for the innate power of the cinematic medium over the written word was echoed by screenwriter Stefan Kolditz, who asserted that the film—like all films—represents, “condensed reality.”

APA, Harvard, Vancouver, ISO, and other styles

17

Reagan, Leslie J. "Representations and Reproductive Hazards of Agent Orange." Journal of Law, Medicine & Ethics 39, no. 1 (2011): 54–61. http://dx.doi.org/10.1111/j.1748-720x.2011.00549.x.

Full text

Abstract:

United States Air Force planes fly across mountains of green forest; behind them, fine white streams of chemical spray fill the sky. The planes fly alone or in formation covering wide swaths of the entire landscape. These images of the herbicide spraying during the United States-Vietnam War are ubiquitous in media material about Agent Orange, the most heavily used of the fifteen herbicides sprayed during the war. This representation of the war does not include guns, grenades, tanks, bombs, or dead bodies. Instead, contemporary documentary filmmakers offer images of airplanes and chemical barrels to provide evidence of another weapon of war, pan dead and leafless forests in an otherwise lush landscape of green, and zero in on children’s deformed bodies to show the lasting environmental and health effects of Agent Orange. In this essay I share preliminary thoughts from my new project on Agent Orange and film in the United States and Vietnam. The bulk of social science writing on Agent Orange has focused on American veterans and their fight to secure benefits, while film scholars have analyzed the Vietnam War in Hollywood movies and television. I investigate documentary film, the transnational activism that generates these films, and the representations of gender, disabilities, bodies, history and culture within them. Here I offer a close reading of two turn-of-the-twenty-first-century documentaries about Agent Orange in Vietnam.

APA, Harvard, Vancouver, ISO, and other styles

18

Gegen. "“War on Terror”: The Limitation of Representation of the Film." Scientific and Social Research 3, no. 2 (July 13, 2021): 141–44. http://dx.doi.org/10.36922/ssr.v3i2.1118.

Full text

Abstract:

History was always written by the winners. Despite the fact that the history of the War on Terror is relatively new, Hollywood is quick to develop a visual history of the conflict. Hollywood’s excellent realism aesthetics were successful in justifying the goal and method of the “war on terror,” interrupting ongoing reality to influence and reconstruct public memory about what happened. This dissertation will use three awarded and influential case studies: The Hurt Locker, Zero Dark Thirty and American Sniper to demonstrate the fragmentation of film representation, that the film only speaks for “us.” The dissertation aims to uncover the hidden political unawareness behind film representations, the manner in which those films provide limited versions of what happened, and how the films emphasise the self-subjectivity while objectifying the other.

APA, Harvard, Vancouver, ISO, and other styles

19

Lesiak, Michał. "Film wojenny w perspektywie genologicznej." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 15 (December 13, 2017): 130–39. http://dx.doi.org/10.24917/3928.

Full text

Abstract:

War film in genological perspective This article aims to present basic problems, that are related to war film as a film genre. The author examines popular theories on the extent and distribution of the war film category. For this purpose he reaches to the works of Jeanine Basinger, Łukasz Plesnar and Steve Neale. The article points out the controversies caused by narrow definition of the discussed notion.Key words: film; war; genre;

APA, Harvard, Vancouver, ISO, and other styles

20

Sørensen, Tonje Haugland. ""...Disse gutta som selv liksom har vokst opp av landskapet." – Arne Skouen og hans okkupasjonsdramaer." Nordlit 16, no. 2 (October 23, 2012): 1. http://dx.doi.org/10.7557/13.2369.

Full text

Abstract:

Arne Skouen is often heralded as one of the clearest auteurs in Norwegian cinema, and his films about the German Occupation of Norway, 1940-45, are among the most successful and renowned within the Norwegian war film genre. This reading of these four films postulate, that within the framework of the cultural memory of the Second World War II, Skouens four war films offer a coherent and moral reflection about the war time narratives.

APA, Harvard, Vancouver, ISO, and other styles

21

Prozhiko, Galina Semenovna, and Galina Semyonovna Prozhiko. "Second World War Film Chronicle." Journal of Flm Arts and Film Studies 2, no. 2 (May 15, 2010): 21–36. http://dx.doi.org/10.17816/vgik2221-36.

Full text

Abstract:

The article is a fragment of the book «The Screen of World Documentary», prepared for publication, and deals with the organization of propaganda and the artistic problems of newsreel and documentary film during World War II in the USA, Great Britain and Germany.

APA, Harvard, Vancouver, ISO, and other styles

22

Ntarangwi, Mwenda. "Film Review: War Don Don." Teaching Sociology 40, no. 3 (June 26, 2012): 296–98. http://dx.doi.org/10.1177/0092055x12448631.

Full text

APA, Harvard, Vancouver, ISO, and other styles

23

Anderton, Vix. "Film Review: The Invisible War." RUSI Journal 157, no. 6 (December 2012): 116–17. http://dx.doi.org/10.1080/03071847.2012.750909.

Full text

APA, Harvard, Vancouver, ISO, and other styles

24

Turan, Müge. "You Don't Own This War: Arab Women's Cinema Showcase." Film Quarterly 73, no. 2 (2019): 87–92. http://dx.doi.org/10.1525/fq.2019.73.2.87.

Full text

Abstract:

With only nine films, “Here and Now: Contemporary Arab Women Filmmakers,” a film series exhibited in August 2019 at Toronto's TIFF Bell Lightbox, is inevitably limited in the variety of style, form, and storytelling it can convey. However, by highlighting both the diversity and intersectionality of identities, the films presented are linked by a compelling thematic thread: they all investigate how cinema represents Arab women with a focus on the body, its materiality, and the power relations that determine it. Although each film reflected its local political and socio-economic context, collectively these films by Arab women utilized the body as a mediated object with the potential to destabilize, disrupt, and transform.

APA, Harvard, Vancouver, ISO, and other styles

25

Pisters, Patricia. "Logistics of Perception 2.0: Multiple Screen Aesthetics in Iraq War Films." Film-Philosophy 14, no. 1 (February 2010): 232–52. http://dx.doi.org/10.3366/film.2010.0008.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

Kaplan, Amy. "The Birth of an Empire." PMLA/Publications of the Modern Language Association of America 114, no. 5 (October 1999): 1068–79. http://dx.doi.org/10.2307/463466.

Full text

Abstract:

The Spanish-Cuban-American war of 1898 was one of the first wars in history to be filmed. Yet despite its participation in the birth of American cinema, the war disappeared as a subject from the later archives of filmmaking. No major films chronicle the three-month war in Cuba or the subsequent three-year war in the Philippines, although films have been made about virtually every other war in American history. My paper is about that duality, about the formative presence and telling absence of this pivotal war in the history of American film.

APA, Harvard, Vancouver, ISO, and other styles

27

Grashchenkova, Irina Nikolaevna, and Irina Nikolayevna Grashchenkova. "The Unknown Cinema of the War and Victory." Journal of Flm Arts and Film Studies 2, no. 2 (May 15, 2010): 6–20. http://dx.doi.org/10.17816/vgik226-20.

Full text

Abstract:

The article is devoted to the history of making Russian films during the tough war years. Many films shot by famous directors have been released and justly appreciated. But there is also an unknown wartime cinema. These fiction films, feature-length and short, stored in film archives, are of great interest to both cinema scholars and wide audience.

APA, Harvard, Vancouver, ISO, and other styles

28

Kovačević, Ivan, and Vladimir Ribić. "“The Russians are coming, the Russians are coming” – an apology of detente." Issues in Ethnology and Anthropology 9, no. 2 (February 26, 2016): 335. http://dx.doi.org/10.21301/eap.v9i2.4.

Full text

Abstract:

The 1966 film The Russians are coming, the Russians are coming is a film which promotes the politics of detente in America. After cold war era films in which the Soviets are exclusively portrayed as spies endangering America, this is the first film to portray them as positive characters, while ridiculing those who propagate war and confrontation. After the Cuban crisis and the process of stopping the spread of nuclear weapons it was necessary to show the American public the funny face of detente. In the comedy about sailors from a stranded Soviet submarine confrontation is always possible but us avoided through solidarity and communal efforts. This apology of detente, intended to calm the cold war situation and anti-war lobbies in America is one-sided, because there weren’t any such films on the other side. What happened over there during the detente period is evident by the following decade in which the largest number of military interventions by the Soviet and Cuban armies around the world occurred.

APA, Harvard, Vancouver, ISO, and other styles

29

Knecht, James R. "War in Film, Television, and History: The War Continues." Film & History: An Interdisciplinary Journal of Film and Television Studies 36, no. 2 (2006): 14–15. http://dx.doi.org/10.1353/flm.2006.0033.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Saryusz-Wolska, Magdalena. "Powojenna widownia filmowa w Berlinie. Przyczynek do nowej historii kina." Prace Kulturoznawcze 20 (March 27, 2017): 121–32. http://dx.doi.org/10.19195/0860-6668.20.10.

Full text

Abstract:

Post-war Film Audience in Berlin. A Contribution to the New Cinema HistoryThe article aims to present the advantages of the new cinema history as a research tool in the field of cultural participation. It focuses on early post-war cinema audience in Berlin, their motivations, practices and habits. Watching films is treated as an exemplary social, economic and political phenomenon that influences all kinds of using and producing popular culture. The author stresses that films are usually made for their audiences. Hence, film studies should pay more attention to the cinemagoers as well as to their parallel activities, such as reading film magazines, observing film posters, or watching film advertisements. Moreover, historical audience studies are a necessary step while analyzing the changing modes of cultural participations. Information on historical practices is especially useful, at a comparative level, in order to support theses on the specificity of contemporary cultural activities.

APA, Harvard, Vancouver, ISO, and other styles

31

Boylan, Amy. "Cuore and the cinema: reframing the Risorgimento for the First World War." Modern Italy 24, no. 3 (March 7, 2019): 281–94. http://dx.doi.org/10.1017/mit.2019.4.

Full text

Abstract:

During the years leading up to and during the First World War, patriotic films featuring self-sacrificing child protagonists formed an important sub-genre of Italian film production. This article looks at Film Artistica Gloria’s Cuore series (1915–1916), adapted from De Amicis’ novel, with particular attention given to the two war-themed films, Il tamburino sardo (UK: The Sardinian Drummer Boy, 1915) and La piccola vedetta lombarda (The Little Lookout from Lombardy, 1915). An examination of the way in which advertising, reviews, and promotional materials worked to reframe these Risorgimento stories within a new historical context shows how the transmedial relationship between the novel, films and paracinematic texts helped to transform De Amicis’s civically-minded patriotic tales into an endorsement of Italy’s intervention in the First World War.

APA, Harvard, Vancouver, ISO, and other styles

32

Shaw, Tony. "Martyrs, Miracles, and Martians: Religion and Cold War Cinematic Propaganda in the 1950s." Journal of Cold War Studies 4, no. 2 (April 2002): 3–22. http://dx.doi.org/10.1162/152039702753649629.

Full text

Abstract:

This article examines Cold War film propaganda in the 1950s, when the cin-ema was enjoying its last period as the dominant visual mass entertainment form in both the West and the East. I concentrates on the role that religion played as a theme of propaganda primarily in British and American movies, as well as some of the Soviet films released during the decade. The article ex-plores the relationship between film output and state propagandists to show how religious themes were incorporated into films dealing with Cold War is-sues, and considers how audiences received the messages contained within these films. The article therefore builds on recent scholarship that highlights the importance of ideas and culture during the Cold War by looking at the adoption and adaptation of religion as a tool of propaganda.

APA, Harvard, Vancouver, ISO, and other styles

33

Burns, Tom. "O Cinema Anti-guerra." Aletria: Revista de Estudos de Literatura 8 (March 2, 2018): 133–43. http://dx.doi.org/10.17851/2317-2096.8..133-143.

Full text

Abstract:

Resumo: O presente trabalho procura estabelecer algumas características do filme anti-guerra a partir da premissa de que as diferenças culturais e raciais dos inimigos de guerra são apagadas e a noção de uma humanidade em comum, emotivamente atraente mas teoricamente problemática, é transmitida ao espectador. Argumenta-se, aqui, no entanto, que tal mensagem humanística não constitui uma proposta utópica para pôr fim à guerra, mas sim uma proposta que vem a contrapor a ideologia patriótica usada pelos governos para justificar a guerra.Palavras-chave: filmes de guerra; filmes anti-guerra; patriotismo; humanismo.Abstract: This paper attempts to establish the parameters of the anti-war film, the basic premise of which is that the cultural and racial differences of enemies in war are erased, and an emotionally appealing but theoretically problematic notion of a commonly shared humanity is made to the viewer. Various examples are examined. It is argued that this humanistic message is not intended as a utopian proposal for the end of war, however, but to counteract the patriotic ideology propounded by governments to justify wars.Keywords: war films; anti-war films; patriotism; humanism.

APA, Harvard, Vancouver, ISO, and other styles

34

Ljubin, Valeriy P. "SOVIET PRISONERS OF WAR IN GERMANY, 1941–1945 – AN UNDESIRABLE TOPIC FOR GERMAN SOCIETY?" RSUH/RGGU Bulletin. Series Political Sciences. History. International Relations, no. 2 (2021): 105–16. http://dx.doi.org/10.28995/2073-6339-2021-2-105-116.

Full text

Abstract:

In German and Russian historiography, the tragic fate of the Soviet prisoners of war in Germany during the Second World War has not been suffi- ciently explored. Very few researchers have addressed this topic in recent times. In the contemporary German society, the subject remains obscured. There are attempts to reflect this tragedy in documentary films. The author analyses the destiny of the documentary film “Keine Kameraden”, which was shot in 2011 and has not yet been shown on the German television. It tells the story of the Soviet prisoners of war, most of whom died in the Nazi concentration camps in 1941– 1945. The personal history of some of the Soviet soldiers who died in the German captivity is reflected, their lives before the war are described, and the relatives of the deceased and the surviving prisoners of war are interviewed. The film features the German historians who have written books about the Soviet prisoners. All the attempts taken by the civil society organizations and the historians to influence the German public opinion so that the film could be shown on German television to a wider audience were unsuccessful. The film was seen by the viewers in Italy on the state channel RAI 3. Even earlier, in 2013, the film was shown in Russia on the channel “Kultura” and received the Pushkin Prize.

APA, Harvard, Vancouver, ISO, and other styles

35

Betancourt, Manuel. "Alejandro Landes's Monos and the Once and Future Colombian War Film." Film Quarterly 73, no. 1 (2019): 26–32. http://dx.doi.org/10.1525/fq.2019.73.1.26.

Full text

Abstract:

The guerrillero towers over the history of Colombian cinema for their glaring absence. Despite the country's decades-long civil war, the rank-and-file members of the armed militias that have dominated the local cultural imaginary in daily newscasts about massacres, kidnappings, and rural confrontations have been mostly absent from the canon of Colombian film. Using Alejandro Landes's 2019 film, Monos, as his case study, Manuel Betancourt offers a cursory history of the guerrilla film in the Latin American country (and the attendant conversation it's sparked within Colombia's own film critic community), arguing that a new wave of Colombian filmmakers are marrying nonfiction and novelistic techniques to finally grapple with a figure that's long been a punchline at best and a nebulous ‘Other’ at worst.

APA, Harvard, Vancouver, ISO, and other styles

36

Nguyen, Nguyet. "Which Mirror Is ‘Truer’?" Journal of American-East Asian Relations 22, no. 1 (April 10, 2015): 45–71. http://dx.doi.org/10.1163/18765610-02201004.

Full text

Abstract:

This essay examines the portrayal of the Vietnam War in one Vietnamese war film—Cánh Đồng Hoang (Wild Rice Field, also known as the Abandoned Field) and one American war film—Apocalypse Now. Released the same year (1979), both received acclaim from film viewers and critics, with the former winning the Golden Prize of the Moscow International Film Festival and the latter two Oscars. This study examines the starkly different way each cinematic product depicts the enemy and nationalism, provides an explanation of the contrast, and assesses how both films sustain, reinforce, and challenge the hegemonic and ideological structure of the two societies during that time. Apocalypse Now evokes sympathy for both u.s. soldiers and the Vietnamese, but its portrayal of these Asian people as faceless and inferior illustrates a culturally imperial approach toward a Third World people. Cánh Đồng Hoang conveys a romanticized, conventional version of the war where the “us” triumphs over the “them” in the defense of the nation. This essay seeks not to show that one film is better, but rather how a large gap exists in American and Vietnamese understanding of one another. Only bridging that gap will promote a better appreciation of each side’s political, social, and cultural background and perspectives.

APA, Harvard, Vancouver, ISO, and other styles

37

Stroiński, Paweł. "Szeregowiec Ryan, czyli wojna i (a) pamięć." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 15 (December 13, 2017): 140–47. http://dx.doi.org/10.24917/3929.

Full text

Abstract:

Saving Private Ryan. War and (vs) memory The analysis is concerned with the relations between representation of war in American cinema and its cultural memory based on Steven Spielberg's Saving Private Ryan (USA 1998). Based on concepts such as cultural memory, postmemory, representation and realism, multiple aspects of a film work were analyzed: the plot, image, sound, and John Williams' musical score. Hollywood war films through referencing genre traditions, patriotic musical style and iconic imagery are capable of influencing the ways society remembers and imagines war. In case of Saving Private Ryan filming techniques used for the combat scenes play a particular role. Influenced by the original World War II combat documentaries the filmmakers achieved the viewer's full immersion in depicted combat, as opposed to the older war cinema, where technological means allowed the camera to only observe the events.Key words: combat film; Saving Private Ryan; Steven Spielberg; collective memory; representation;

APA, Harvard, Vancouver, ISO, and other styles

38

Rushton, Richard. "Hamish Ford (2012) Post-War Modernist Cinema and Philosophy: Confronting Negativity and Time." Film-Philosophy 20, no. 2-3 (October 2016): 384–86. http://dx.doi.org/10.3366/film.2016.0023.

Full text

APA, Harvard, Vancouver, ISO, and other styles

39

Turczyn, Katarzyna. "Educational Activities of the National Film Archive in Warsaw Connected with Pre-World War II Films." Panoptikum, no. 18 (December 29, 2017): 178–90. http://dx.doi.org/10.26881/pan.2017.18.11.

Full text

Abstract:

This article describes the educational actions (including the use of them in education) related to pre-war films conducted by the National Film Archive in Warsaw. First to exemplify this phenomenon, I focused on the works of three silent films: Mania. The history of a cigarette factory worker (Mania. Die Geschichte einer Zigarettenarbeiterin, 1918, directed by Eugen Illés), Pan Tadeusz ([Sir Thaddeus, 1928, directed by Ryszard Ordyński) and Zew morza ([The call of the sea], 1927, directed by Henryk Szaro), which have undergone a complete digital reconstruction during the Nitrofilm project (2008–2014) in the National Film Archive. The aim is to show how knowledge about silent film is communicated to the audience, and how these movies can be used to achieve educational goals/targets. The theoretical framework of this essay is examining the changing function of film archives, where technological change, the possibilities of restoration and digitization of films contributes to increasing popularisation of audiovisual heritage by film archivists and museums. An essential category in this essay is the authenticity both for the reconstructed film and its presentation. The perception of authenticity often determinates strategies for presentation of this heritage. The article is based on qualitative research (interviews with the audience and workers at the film archive;participant observation, press materials and websites).

APA, Harvard, Vancouver, ISO, and other styles

40

Hedling, Erik. "Shame: Ingmar Bergman’s Vietnam War." Nordicom Review 29, no. 2 (November 1, 2008): 245–60. http://dx.doi.org/10.1515/nor-2017-0189.

Full text

Abstract:

Abstract Ingmar Bergman’s film Skammen [Shame] (1968), about a married couple trapped between the warring parties in a bloody civil war, triggered fierce ideological debate in Sweden. According to the harsh critics of the film, among whom the leading critic was well-known author Sara Lidman, Bergman had managed to create propaganda for the American government and its controversial war in Vietnam. In the present paper, the debate is studied historically in relation to ongoing research about the culture of the late 1960s in Sweden. The studied material consists of press clippings, Bergman scholarship, and Bergman’s own recently released papers at the Ingmar Bergman Foundation Archive in Stockholm. Furthermore, questions about meaning and interpretation regarding film viewing are dealt with, taking into consideration developments in contemporary film theory.

APA, Harvard, Vancouver, ISO, and other styles

41

Fullerton, John. "Introduction:Experiment in Film Before World War II." Film History: An International Journal 20, no. 1 (January 2008): 3–5. http://dx.doi.org/10.2979/fil.2008.20.1.3.

Full text

APA, Harvard, Vancouver, ISO, and other styles

42

Ringstad, Arnold. "The Evolution of American Civil Defense Film Rhetoric." Journal of Cold War Studies 14, no. 4 (October 2012): 93–121. http://dx.doi.org/10.1162/jcws_a_00277.

Full text

Abstract:

In the 1950s and 1960s, the U.S. government oversaw the production of civil defense films designed to educate the population about what to do in the event of nuclear war. This article uses films from two distinct periods—the early 1950s and the early 1960s—as a point of departure for discussing U.S. civil defense policies during the Cold War. The article traces four key shifts in the film program's rhetorical strategies. First, an early focus on ideological matters was replaced with an emphasis on practical steps citizens could take. Second, the early conventionalizing of nuclear dangers was replaced by a more subtle integration of those dangers into everyday life. Third, the early films' narrative structures were replaced by a straightforward, documentary-style approach. Finally, the early flippancy with which nuclear war was treated was replaced by a deadly seriousness. These rhetorical shifts indicate that the civil defense establishment was capable of reacting to scientific, political, and popular pressures.

APA, Harvard, Vancouver, ISO, and other styles

43

McKnight, David. "Australian Film and the Cultural Cold War." Media International Australia 111, no. 1 (May 2004): 118–30. http://dx.doi.org/10.1177/1329878x0411100112.

Full text

Abstract:

This article examines whether, and in what way, anti-communism was a factor in the slow development of an Australian film industry in the 1950s and early 1960s and in the kind of film culture developed in Australia, particularly through film festivals. In particular it examines the activities of the Australian Security Intelligence Organisation (ASIO) towards left and liberal filmmakers and film lovers. It briefly examines the effect of anti-communism on the struggle for Australian content by Actors' Equity in the early years of television.

APA, Harvard, Vancouver, ISO, and other styles

44

Whatley, Edward. "Book Review: 100 Great War Movies: The Real History Behind the Films." Reference & User Services Quarterly 58, no. 2 (January 18, 2019): 124. http://dx.doi.org/10.5860/rusq.58.2.6940.

Full text

Abstract:

The one hundred films covered by Robert Niemi’s 100 Great War Movies: The Real History Behind the Films were selected using an eclectic array of criteria (the preferences of the author based on his experience as a film teacher, the preferences of his friends and colleagues, and a survey of numerous best-of lists), and the result is of course a rather eclectic collection of entries. Coverage includes famous well-regarded films that most readers will expect to find in a collection such as this: The Bridge on the River Kwai, From Here to Eternity, and Saving Private Ryan. But readers will also encounter films with which they may not be as familiar, such as Merry Christmas, Mr. Lawrence starring David Bowie, and the film adaptation of Kurt Vonnegut’s Slaughterhouse-Five. The films included also cover a wide range of ideological viewpoints: from patriotic World War II–era films to more recent films that take a more skeptical view of warfare.

APA, Harvard, Vancouver, ISO, and other styles

45

Mombell, Nicole. "Teaching Representations of Resistance and Repression in Popular Spanish Film." Image and Storytelling: New Approaches to Hispanic Cinema and Literature 1, no. 2 (October 31, 2020): 163–83. http://dx.doi.org/10.5399/uo/peripherica.1.2.8.

Full text

Abstract:

This essay presents a brief analysis of three popular Spanish films released between 2001 and 2012 that are set in the immediate post Civil War period and first decades of the Franco dictatorship. Specifically, it considers three films which aim to reconstruct and represent the experience of the men, women, and children who fought Francoism or who endured repression after the end of the Spanish Civil War: Silencio roto (Armendáriz 2001), El laberinto del fauno (Del Toro 2004), and 30 años de oscuridad (Martín 2012). This essay explores the way in which tropes of politics, history, resistance, and repression are represented in each film, and how filmmakers using popular cinematic forms have appropriated the Spanish Civil War and Franco period settings to comment on contemporary political and social issues in Spain. Most of the recent Spanish cinematic productions (fictional and documentary) that depict the Spanish Civil War and Franco period have focused on the moral vindication of the vanquished. The three films considered here aim to reconstruct the particular experience or memories of the Spanish maquis and topos, and the civilians who supported them in their struggles. Each of the films discussed has sought to play a role in the recasting of collective identity in Spain, and affords important insights into the social processes and experiences of the time in which they were created. In a world where the visual immediacy of cinematic images increasingly works to displace traditional historiography, these representations have become ever more important and merit discussion. This essay takes into account that these cinematic representations are subjective and mediated depictions of events, participants, and circumstances of the Civil War and Franco period, and suggests pedagogical approaches to discussing each film in order to enable students (and other viewers) to grasp how to distinguish between history and the historicizing effect of its representations.

APA, Harvard, Vancouver, ISO, and other styles

46

Jukes, Eric. "A Companion to the War Film." Reference Reviews 31, no. 5 (June 19, 2017): 33–35. http://dx.doi.org/10.1108/rr-02-2017-0038.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

Levin, K. M. "Teaching Civil War Mobilization with Film." OAH Magazine of History 26, no. 2 (March 26, 2012): 33–36. http://dx.doi.org/10.1093/oahmag/oas013.

Full text

APA, Harvard, Vancouver, ISO, and other styles

48

Prorokova, Tatiana. "A Companion to the War Film." Historical Journal of Film, Radio and Television 37, no. 3 (July 3, 2017): 587–89. http://dx.doi.org/10.1080/01439685.2017.1345130.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

J. E. Smyth. "War and Film (review)." Journal of Military History 73, no. 1 (2008): 252–53. http://dx.doi.org/10.1353/jmh.0.0201.

Full text

APA, Harvard, Vancouver, ISO, and other styles

50

Betsalel, Ken, and Mark Gibney. "Can A Film End A War?" Human Rights Quarterly 30, no. 2 (2008): 522–25. http://dx.doi.org/10.1353/hrq.0.0002.

Full text

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!