New Perspectives on the War Film

Produktdetails

Verlag

Springer International Publishing

Erschienen

2019

Sprache

English

Seiten

320

Infos

320 Seiten
216 mm x 153 mm

ISBN

978-3-030-23095-1

Langtext

New Perspectives on the War Film
 addresses the gap in the representation of many forgotten faces of war in mainstream movies and global mass media. The authors concentrate on the untold narratives of those who fought in combat and were affected by its brutal consequences. Chapters discuss the historically under-represented stories of individuals including women, African-American and Indigenous Soldiers. Issues of homosexuality and gender relations in the military, colonial subjects and child soldiers, as well as the changing nature of war via terrorism and bioterrorism are closely analyzed. The contributors demonstrate how these viewpoints have been consistently ignored in mainstream, blockbuster war sagas and strive to re-integrate these lost perspectives into current and future narratives. 

Inhaltsverzeichnis

Foreword; Michael HammondIntroduction; Clémentine Tholas-Disset, Janis Goldie, and Karen A. RitzenhoffSection I. Children and Warfare1. Walking Across the Bloodlands: Children and War in 
Surviving with Wolves
 by Véra Belmont (2007) and 
Lore
 by Cate Shortland (2013); Jakub Kazecki2. 
Rebelle
 Rebel: Child Soldiers, Neo-Colonialism and Gender in Narratives of War; Janis L. Goldie3. The Child as Target: (Un)Ethical Modern Warfare, Journalism and Terrorism; Karen A. RitzenhoffII. Challenging Constructions of Gender and Sexuality in the War Film 4. 
Shoulder Arms 
(1918), 
What Price Glory
 (1926), 
Wings
 (1927): Homosexuality and Gender Representations in Silent WWI Films; Clémentine Tholas-Disset5. Women and Nation in Films of the Great War: “How I wish I were a man, to help drive back those Germans.”; Thomas Saunders6. “So long as they are maintaining a bona fide family relationship in the home”: Women in WWII American Government Documentaries; Zachary Baqué7. Gender and Homecoming in Iraq War Films; Marianne Kac-VergneSection III. Reclaiming Sovereignty and Empathy in the War Film8. The Other Fights Back: Indigenizing the War Film; Jennifer l. Gauthier9. Saved from the Fire: Haunted Lives and War Memories in Vietnamese Cinema; Thong Win10. Black Skin, White Faces: 
Dead Presidents
, Gangs, and the African-American Vietnam Veteran; Kathleen McClancy11. 
Avanti Popolo
: Israeli Filmmaker Rafi Bukaee and the ordinary Egyptian Soldier at the End of the Six-Day War; Yael MunkSection IV. New Faces of War and Terror12. Sisters in Arms: Epic Narratives in 
The Baader Meinhof Complex
 and 
United Army
; Elena Caoduro13. The New Face of Fear: How Pandemics and Terrorism Reinvent Terror (and  Heroes) in the Twenty-First Century; Dahlia Schweitzer

Klappentext

'This brilliant edited volume provides a necessary critique and update to mainstream war films that have systematically erased women and minorities from their narratives. With chapters on Indian soldiers at
Dunkirk
, varying and complex portrayals of women in combat, indigenous soldiers, depictions of homosexuality, representations of terrorism, and much more,
New Perspectives on the War Film
brings together innovative research highlighting not just the changing nature of the war film, but war itself.' 


— Brian E. Crim, John M. Turner Distinguished Chair in the Humanities, University of Lynchburg, USA

New Perspectives on the War Film
 addresses the gap in the representation of many forgotten faces of war in mainstream movies and global mass media. The authors concentrate on the untold narratives of those who fought in combat and were affected by its brutal consequences. Chapters discuss the historically under-represented stories of individuals including women, African-American and Indigenous Soldiers. Issues of homosexuality and gender relations in the military, colonial subjects and child soldiers, as well as the changing nature of war via terrorism and bioterrorism are closely analyzed. The contributors demonstrate how these viewpoints have been consistently ignored in mainstream, blockbuster war sagas and strive to re-integrate these lost perspectives into current and future narratives. 

Clémentine Tholas is an Associate Professor of American Studies at Paris III-Sorbonne Nouvelle University, France. Previously published works include 
Le 
Cinéma
 
américain
 et 
ses
 premiers 
récits
 
filmique
s (2014) and co-edited with Karen A. Ritzenhoff a collective volume entitled 
Humor
, Entertainment, and Popular Culture during World War 
I
  (Palgrave, 2015). 

Janis L. Goldie is Associate Professor and Chair of the Communication Studies Department at Huntington University at Laurentian, Canada. She co-edited with Karen A. Ritzenhoff, 
“The Handmaid’s Tale:” Teaching Dystopia, Feminism, and Resistance Across Disciplines and Borders 
(2019).

Karen A. Ritzenhoff is Professor, Department of Communication at Central Connecticut State University, USA. She is affiliated with the Women, Gender, and Sexuality Studies Program and cinema studies. She recently co-edited with Janis L. Goldie, 
“The Handmaid’s Tale:” Teaching Dystopia, Feminism, and Resistance Across Disciplines and Borders
 (2019). In 2015 she coedited 
The Apocalypse in Film
 with Angela Krewani; 
Selling Sex on Screen: From Weimar Cinema to Zombie Porn
 with Catriona McAvoy, and 
Humor, Entertainment, and Popular Culture during World War I
 with Clémentine Tholas (published by Palgrave, 2015). Ritzenhoff is also co-editor of
Heroism and Gender in War Films
(Palgrave, 2014) with Jakub Kazecki.

Hauptbeschreibung

*Gives voice to those who have traditionally been marginalized and whose historically silenced stories of war can conceivably provide us with much needed insight in what is arguably a very turbulent time in world affairs*Gathers scholars from diverse disciplinary backgrounds ranging from film and communication studies, American studies, European studies, history, and more*Offers analyses of film and traditions from a global set of sources

Über den AutorIn

Clémentine Tholas is an Associate Professor of American Studies at Paris III-Sorbonne Nouvelle University, France. Her research interests focus on early motion pictures in the US, namely on WWI cinematic propaganda and the role of silent films as tools of progressivism. Clémentine Tholas published  Le  Cinéma   américain  et  ses  premiers  récits   filmique s (2014) and co-edited with Karen A. Ritzenhoff a collective volume entitled  Humor , Entertainment, and Popular Culture during World War  I  (Palgrave, 2015). 

Janis L. Goldie is Associate Professor and Chair of the Communication Studies Department at Huntington University at Laurentian, Canada. Her research focuses on the Canadian war film genre and the constructions of the Canadian military in media culture products such as video games, graphic novels and television advertisements. She co-edited with Karen A. Ritzenhoff, “The Handmaid’s Tale:” Teaching Dystopia, Feminism, and Resistance Across Disciplines and Borders (2019).

Karen A. Ritzenhoff is Professor, Department of Communication at Central Connecticut State University, USA. She is affiliated with the Women, Gender, and Sexuality Studies Program and cinema studies. She recently co-edited with Janis L. Goldie, “The Handmaid’s Tale:” Teaching Dystopia, Feminism, and Resistance Across Disciplines and Borders (2019). In 2015 she coedited The Apocalypse in Film with Angela Krewani; Selling Sex on Screen: From Weimar Cinema to Zombie Porn with Catriona McAvoy, and Humor, Entertainment, and Popular Culture during World War I with Clémentine Tholas (published by Palgrave, 2015). Ritzenhoff is also co-editor of Heroism and Gender in War Films (Palgrave, 2014) with Jakub Kazecki.