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World War II has been the subject of hundreds, if not thousands, of films produced in the United States alone. From training camp scenes in See Here, Private Hargrove to images of brutal combat in Saving Private Ryan, filmmakers have been tasked with replicating pivotal moments in the war. But sometimes story lines and dramatic manipulations of audiences have led to less-than-faithful re-creations of what men and women have endured during times of conflict. In Real War vs. Reel War: Veterans, Hollywood, and World WarII, Suzanne Broderick looks at how on-screen portrayals hold up against wartime experiences of actual combatants—soldiers, sailors, pilots, code talkers, and prisoners of war. In addition, two women—real-life \"Rosie the Riveters\"—compare depictions of the homefront with their experiences during the war. These members of the Greatest Generation share personal memories and offer commentary on the films that have sought to capture what it was really like. Among the films discussed in this book are such classics as Battleground, Twelve O'Clock High, The Best Years of Our Lives, Since You Went Away, The Sands of Iwo Jima, and The Great Escape, as well as more contemporary films such as Swing Shift and Windtalkers. By providing a \"human\" look at the military, the war effort, and how such people and events were depicted on screen, Real War vs. Reel War makes a unique contribution to the conversation about Hollywood's role in shaping history. This book will appeal to historians, cultural critics, and anyone interested in war cinema.

This provocative history of early cold war America recreates a time when World War III seemed imminent. Headlines were dominated by stories of Soviet slave laborers, brainwashed prisoners in Korea, and courageous escapees like Oksana Kasenkina who made a \"leap for freedom\" from the Soviet Consulate in New York. Full of fascinating and forgotten stories,Cold War Captivesexplores a central dimension of American culture and politics-the postwar preoccupation with captivity. \"Menticide,\" the calculated destruction of individual autonomy, struck many Americans as a more immediate danger than nuclear annihilation. Drawing upon a rich array of declassified documents, movies, and reportage-from national security directives to films likeThe Manchurian Candidate-his book explores the ways in which east-west disputes over prisoners, repatriation, and defection shaped popular culture. Captivity became a way to understand everything from the anomie of suburban housewives to the \"slave world\" of drug addiction. Sixty years later, this era may seem distant. Yet, with interrogation techniques derived from America's communist enemies now being used in the \"war on terror,\" the past remains powerfully present.

\"4 At 10:59:30 in Chaumont-devant-Damvillers, fifteen kilometers from Douaumont, Doughboy Henry N. Gunther is the last known soldier of the Great War to have died on the battlefield, le dernier mort à la dernière minute.5 Thirty seconds later, the First World War was over. [...]those final seconds of the eleventh hour are not only one last grim testimony, but they also represent a microcosm that punctuates the Great War's unprecedented violence and its resulting mass death and devastation in France: out of the total population, 3.4% of the men were killed compared to 3% in Germany, 1.9 % in Austria-Hungary, 1.6 % in Great Britain and Italy, and 1.1% in Russia.6 Of particular significance for la Grande Nation was that half of all the corpses were categorized as either missing or unidentifiable. \"9 Born in Lyon-just like the motion picture itself with the Lumière brothers' La Sortie de l'usine Lumière à Lyon (1895)-in 1941 to a father who abetted anti-Nazi highbrows and published a wartime resistance journal with the belief that \"words are as important and as lethal as bullets and that writers (and therefore filmmakers) had real responsibilities to their audience in this regard,\"10 Tavernier developed an ethical outlook early in his career as a screenwriter, believing that he had \"[...] a moral responsibility to be faithful both to his characters and to his art. \"16 Tavernier adds that he mentioned his interest in the subject to Jean Cosmos who had scripted the telefilm La Dictée (1984) that also treated the topic, and, as a result of their mutual interest and inquisitiveness, they began researching le Soldat Inconnu.17 Tavernier was under the impression that the search for the Unknown Soldier took many months; however, it was Cosmos who discovered that it took only four days.18 After two years of collaboration and countless revisions, they created a scenario that portrays the reviviscence of post war-ravaged France by featuring the struggles of cynical Major Dellaplane (Philippe Noiret) tasked to identify all 350,000 poilus disparus,19 of aristocrat Madame Irène de Courtil (Sabine Azéma) attempting to find her MIA husband, and of young primary school teacher Alice Vallier (Pascale Vignal) doing exactly the same but for her fiancé. By producing La Vie et rien d'autre in 1988, Tavernier paved the way for other French directors to depict that sub-genre of la Grande Guerre, namely François Dupeyron with the disfigured in La Chambre des officiers (The Officers' Ward, 2001); Jean-Pierre Jeunet's with self-mutilation in Un long dimanche de fiançailles (A Very Long Engagement, 2004), François Ozon with survivor's guilt in Frantz (2017), and Albert Dupontel with war memorial scams in Au revoir là-haut (See You Up There, 2017). Because the film industry was not interested in investing in what it considered to be a depressing historical World War I documentary, Tavernier's first obstacle was to secure financial support and a distributor, which, given his long-standing reputation, proved strangely difficult.

A specific reference point would be his first feature-length film Culloden, in which we follow a camera crew documenting a battle that takes place in the year 1746. Peter Watkins uses the mockumentary form in order to question those in power and hopefully convince the oppressed to become more active against their oppressors. If they reach the flag they get released and reclaim their “freedom”, but if they fail they must carry out their entire prison sentence. By the end of the film, we see that the system is fully rigged and all of the participants are either murdered or captured when they are greeted by an army of police officers waiting for them at the American flag.

PurposeIn this article, we use the film Bridge of Spies – which depicts the case of U-2 spy pilot Francis Gary Powers – and relevant primary sources, particularly Powers' letters from prison, to provide teachers with a case that can engage students with the complexity of the Cold War. Understanding USA–Russia relations is as important today as ever as we watch the tragedy unfold in Ukraine. Using primary sources to reflect on the Cold War can help secondary students understand the historical context of the war in Ukraine as well as how to evaluate and critique sources of information about the war.Design/methodology/approachThe film and personal letters provide insights often not available or obvious when we focus on the political or military history of an event or time period. The Cold War is frequently defined by the rhetoric of the USA and Union of Soviet Socialist Republics (USSR) governments – but everyday people and citizens had a wider range of views and experiences. The film and letters bring out the humanity of the Cold War.FindingsThis article supports secondary teachers in incorporating film and primary sources as teaching tools to study the Cold War while more broadly thinking about these sources as ways to understand the past. The letters used, including those from U-2 spy pilot Francis Gary Powers, help us understand his time in a Soviet prison as well as the behind-the-scenes work to free him as part of a prisoner exchange.Originality/valueThe U-2 Incident and other events of the Cold War provide important context for understanding the Cold War-like tensions between the USA and Russia today. The distrust between these countries has a long history. However, documents like the film and letters discussed here show that there is much more to the bluster of political leaders and the military chess game. There is an important human element to these events and an impact on individuals who are much more than pawns in international diplomacy.

Silvia Bizio, an Italian journalist, and her son Matteo Borgardt are conducting research for a documentary film about Camp Monticello. She writes about working with local historians and historical archaeologists to learn about her father’s experiences at the camp. Silvia Bizio, una periodista italiana, y su hijo Matteo Borgardt están llevando a cabo una investigación para un documental sobre Camp Monticello. Ella escribe sobre su trabajo con historiadores y arqueólogos históricos locales para aprender sobre las experiencias de su padre en el campamento. Silvia Bizio, une journaliste italienne et son fils Matteo Borgardt mènent une recherche pour un film documentaire sur le camp Monticello. Elle décrit son travail en compagnie d’historiens locaux et d’archéologues historiques dans le but d’en savoir plus sur ce que son père a vécu lors de son internement.

According to Colonel Willis Perry, a military security officer involved in the study of former POWs, The bastinado, the Iron Maiden, the rack, the water dropping unceasingly on the head, bamboo splinters stuck under the fingernails and ignited-those are forms of torture.According to Col. Perry, \"The Army has no hesitation in saying that a prisoner should stick firmly and honestly to his name, rank, serial number, and date of birth.\"(The Army characterized this widespread phenomenon as \"give-up-itis.\")Because Hall acted as a \"natural\" leader, he was put into a regimen of isolation and deprivation.First you create an atmosphere of terror and uncertainty.

Employing the American Sniper (Clint Eastwood, 2014) premiere at Guantanamo Bay Naval Base's Downtown Lyceum theater as a case study, this article analyzes media spectatorship through a particularized exhibition and reception context. It also explores how the US military operationalizes entertainment media screened for both detainees and personnel to biopolitically regulate opposition and manage bodies and affective responses. In addition, the article conceptualizes the detention facility itself as an exhibition space through the site's rigorously managed media tours. These tours promote strategically delimited vantages of Guantanamo for both visiting observers and media viewers at a distance.