Details
New Perspectives on the War Film
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117,69 € |
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| Verlag: | Palgrave Macmillan |
| Format: | |
| Veröffentl.: | 14.09.2019 |
| ISBN/EAN: | 9783030230968 |
| Sprache: | englisch |
Dieses eBook enthält ein Wasserzeichen.
Beschreibungen
<div><i>New Perspectives on the War Film</i> 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. <br></div><div><br></div>
<div>Foreword; Michael Hammond</div><div>Introduction; Clémentine Tholas-Disset, Janis Goldie, and Karen A. Ritzenhoff</div><div>Section I. Children and Warfare</div><div>1. Walking Across the Bloodlands: Children and War in <i>Surviving with Wolves</i> by Véra Belmont (2007) and <i>Lore</i> by Cate Shortland (2013); Jakub Kazecki</div><div>2. <i>Rebelle</i> Rebel: Child Soldiers, Neo-Colonialism and Gender in Narratives of War; Janis L. Goldie</div><div>3. The Child as Target: (Un)Ethical Modern Warfare, Journalism and Terrorism; Karen A. Ritzenhoff</div><div>II. Challenging Constructions of Gender and Sexuality in the War Film </div><div>4. <i>Shoulder Arms </i>(1918), <i>What Price Glory</i> (1926), <i>Wings</i> (1927): Homosexuality and Gender Representations in Silent WWI Films; Clémentine Tholas-Disset</div>5. Women and Nation in Films of the Great War: “How I wish I were a man, to help drive back those Germans.”; Thomas Saunders<div>6. “So long as they are maintaining a bona fide family relationship in the home”: Women in WWII American Government Documentaries; Zachary Baqué</div><div>7. Gender and Homecoming in Iraq War Films; Marianne Kac-Vergne</div><div>Section III. Reclaiming Sovereignty and Empathy in the War Film</div>8. The Other Fights Back: Indigenizing the War Film; Jennifer l. Gauthier<div>9. Saved from the Fire: Haunted Lives and War Memories in Vietnamese Cinema; Thong Win</div><div>10. Black Skin, White Faces: <i>Dead Presidents</i>, Gangs, and the African-American Vietnam Veteran; Kathleen McClancy</div><div>11. <i>Avanti Popolo</i>: Israeli Filmmaker Rafi Bukaee and the ordinary Egyptian Soldier at the End of the Six-Day War; Yael Munk</div>Section IV. New Faces of War and Terror<div>12. Sisters in Arms: Epic Narratives in <i>The Baader Meinhof Complex</i> and <i>United Army</i>; Elena Caoduro</div><div>13. The New Face of Fear: How Pandemics and Terrorism Reinvent Terror (and Heroes) in the Twenty-First Century; Dahlia Schweitzer</div>
<p>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 <i>Le </i><i>Cinéma</i><i> </i><i>américain</i><i> et </i><i>ses</i><i> premiers </i><i>récits</i><i> </i><i>filmique</i>s (2014) and co-edited with Karen A. Ritzenhoff a collective volume entitled <i>Humor</i><i>, Entertainment, and Popular Culture during World War </i><i>I</i> (Palgrave, 2015). </p>
<p>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, <i>“The Handmaid’s Tale:” Teaching Dystopia, Feminism, and Resistance Across Disciplines and Borders</i> (2019).</p><p>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, <i>“The Handmaid’s Tale:” Teaching Dystopia, Feminism, and Resistance Across Disciplines and Borders</i> (2019). In 2015 she coedited <i>The Apocalypse in Film</i> with Angela Krewani; <i>Selling Sex on Screen: From Weimar Cinema to Zombie Porn</i> with Catriona McAvoy, and <i>Humor, Entertainment, and Popular Culture during World War I</i> with Clémentine Tholas (published by Palgrave, 2015). Ritzenhoff is also co-editor of <i>Heroism and Gender in War Films </i>(Palgrave, 2014) with Jakub Kazecki.</p><br><br>
<p>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, <i>“The Handmaid’s Tale:” Teaching Dystopia, Feminism, and Resistance Across Disciplines and Borders</i> (2019).</p><p>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, <i>“The Handmaid’s Tale:” Teaching Dystopia, Feminism, and Resistance Across Disciplines and Borders</i> (2019). In 2015 she coedited <i>The Apocalypse in Film</i> with Angela Krewani; <i>Selling Sex on Screen: From Weimar Cinema to Zombie Porn</i> with Catriona McAvoy, and <i>Humor, Entertainment, and Popular Culture during World War I</i> with Clémentine Tholas (published by Palgrave, 2015). Ritzenhoff is also co-editor of <i>Heroism and Gender in War Films </i>(Palgrave, 2014) with Jakub Kazecki.</p><br><br>
<p>'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 <i>Dunkirk</i>, varying and complex portrayals of women in combat, indigenous soldiers, depictions of homosexuality, representations of terrorism, and much more, <i>New Perspectives on the War Film</i> brings together innovative research highlighting not just the changing nature of the war film, but war itself.' <br>— Brian E. Crim, John M. Turner Distinguished Chair in the Humanities, University of Lynchburg, USA<br></p><div><i>New Perspectives on the War Film</i> 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. <br></div><div><br></div><div><p>Clémentine Tholas is an Associate Professor of American Studies at Paris III-Sorbonne Nouvelle University, France. Previously published works include <i>Le </i><i>Cinéma</i><i> </i><i>américain</i><i> et </i><i>ses</i><i> premiers </i><i>récits</i><i> </i><i>filmique</i>s (2014) and co-edited with Karen A. Ritzenhoff a collective volume entitled <i>Humor</i><i>, Entertainment, and Popular Culture during World War </i><i>I</i> (Palgrave, 2015). </p><p>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, <i>“The Handmaid’s Tale:” Teaching Dystopia, Feminism, and Resistance Across Disciplines and Borders </i>(2019).</p><p>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, <i>“The Handmaid’s Tale:” Teaching Dystopia, Feminism, and Resistance Across Disciplines and Borders</i> (2019). In 2015 she coedited <i>The Apocalypse in Film</i> with Angela Krewani; <i>Selling Sex on Screen: From Weimar Cinema to Zombie Porn</i> with Catriona McAvoy, and <i>Humor, Entertainment, and Popular Culture during World War I</i> with Clémentine Tholas (published by Palgrave, 2015). Ritzenhoff is also co-editor of <i>Heroism and Gender in War Films</i> (Palgrave, 2014) with Jakub Kazecki.</p></div><p><br></p>
<p>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</p><p>Gathers scholars from diverse disciplinary backgrounds ranging from film and communication studies, American studies, European studies, history, and more</p><p>Offers analyses of film and traditions from a global set of sources</p>
*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<div>*Gathers scholars from diverse disciplinary backgrounds ranging from film and communication studies, American studies, European studies, history, and more<div>*Offers analyses of film and traditions from a global set of sources</div></div>
“In this provocative volume, the authors urge a critical re-evaluation of the war film by highlighting the range of stories it recounts—as well as those it ignores—and the diversity of subjects it brings into focus. The collection encourages a renewed engagement with the genre through attention to perspectives and experiences often imagined to fall outside the frames of war and to conflicts that exceed the conflation of war with state-sponsored combat. In pushing past conventional conceptions of the war film, the book makes a timely and important intervention into our understanding of the complexities of violence both on the screen and beyond it.” (Jonna Eagle, Associate Professor of Film/Media, Department of American Studies, University of Hawaii at Manoa, USA)
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