Catalogue Search | MBRL
Are you sure you want to remove the book from the shelf?
{{itemTitle}}
25,850
result(s) for
"War films."
Sort by:
Constructing the Image of the Mexican Revolution
With a cast ranging from Pancho Villa to Dolores del Río and Tina Modotti, Constructing the Image of the Mexican Revolution demonstrates the crucial role played by Mexican and foreign visual artists in revolutionizing Mexico’s twentieth-century national iconography. Investigating the convergence of cinema, photography, painting, and other graphic arts in this process, Zuzana Pick illuminates how the Mexican Revolution’s timeline (1910–1917) corresponds with the emergence of media culture and modernity. Drawing on twelve foundational films from Que Viva Mexico! (1931–1932) to And Starring Pancho Villa as Himself (2003), Pick proposes that cinematic images reflect the image repertoire produced during the revolution, often playing on existing nationalist themes or on folkloric motifs designed for export. Ultimately illustrating the ways in which modernism reinvented existing signifiers of national identity, Constructing the Image of the Mexican Revolution unites historicity, aesthetics, and narrative to enrich our understanding of Mexicanidad.
eBook
War without Bodies
Historically the bodies of civilians are the most damaged by the
increasing mechanization and derealization of warfare, but this is
not reflected in the representation of violence in popular media.
In War Without Bodies , author Martin Danahay argues that
the media in the United States in particular constructs a \"war
without bodies\" in which neither the corpses of soldiers or
civilians are shown. War Without Bodies traces the
intertwining of new communications technologies and war from the
Crimean War, when Roger Fenton took the first photographs of the
British army and William Howard Russell used the telegraph to
transmit his dispatches, to the first of three \"video wars\" in the
Gulf region in 1990-91, within the context of a war culture that
made the costs of organized violence acceptable to a wider public.
New modes of communication have paradoxically not made more war
\"real\" but made it more ubiquitous and at the same time
unremarkable as bodies are erased from coverage. Media such as
photography and instantaneous video initially seemed to promise
more realism but were assimilated into existing conventions that
implicitly justified war. These new representations of war were
framed in a way that erased the human cost of violence and replaced
it with images that defused opposition to warfare. Analyzing
poetry, photographs, video and video games the book illustrates the
ways in which war was framed in these different historical
contexts. It examines the cultural assumptions that influenced the
reception of images of war and discusses how death and damage to
bodies was made acceptable to the public. War Without
Bodies aims to heighten awareness of how acceptance of war is
coded into texts and how active resistance to such hidden messages
can help prevent future unnecessary wars.
eBook
Afterimage
The appearance of Alain Resnais' 1955 French documentaryNight and Fogheralded the beginning of a new form of cinema, one that used the narrative techniques of modernism to provoke a new historical consciousness.Afterimagepresents a theory of posttraumatic film based on the encounter between cinema and the Holocaust. Locating its origin in the vivid shock of wartime footage,Afterimagefocuses on a group of crucial documentary and fiction films that were pivotal to the spread of this cinematic form across different nations and genres.Joshua Hirsch explores the changes in documentary brought about by cinema verite, culminating in Shoah. He then turns to teh appearance of a fictional posttraumatic cinema, tracing its development through the vivid flashbacks in Resnais'Hiroshima, mon amourto the portrayal of pain and memory inPawnbroker. He excavates a posttraumatic autobiography in three early films by the Hungarian Istvan Szabo. Finally, Hirsch examines the effects of postmodernism on posttraumatic cinema, looking atSchindler's Listand a work about a different form of historical trauma,History and Memory, a videotape dealing with the internment of Japanese Americans during the Second World War.Sweeping in its scope,Afterimagepresents a new way of thinking about film and history, trauma and its representation.
eBook
Cinematic corpographies : re-mapping the war film through the body
Writing on the relationship between war and cinema has largely been dominated by an emphasis on optics and weaponised vision. However, as this analysis of the Hollywood war film will show, a wider sensory field is powerfully evoked in this genre. Contouring war cinema as representing a somatic experience of space, the study applies 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. These 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 entail 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.
Book
On art and war and terror
This book offers a sustained demonstration of the way in which works of art can help us to explore the most difficult ethical and political issues of our time: war, terror, extermination, torture and abuse. Author blurb:The book combines art and politics in an original way. It uses art of various kinds (paintings, poems, novels, photographs, films) to explore war; it demonstrates how art can do this. It ranges across the wars of the last century, from the Great War to the Global War on Terror. It is alive to the idea of moral life, even amid depravity and destruction. It is written in a distinctive style, which is said to have some affinities with the work of John Berger. It has one foot in scholarship, the other in magic arts.
eBook
Hollywood enlists
Frequently referred to as “the Greatest Generation,” Americans of the World War II era were influenced by Hollywood’s depictions of their nation, its role in world affairs, and the virtue of its involvement in the war. Stories of the bravery and heroism of the American military—as well as the moral and political threat posed by the enemy—filled movie screens across the country to garner passionate support for wartime policies. In Hollywood Enlists! Propaganda Films of World War II, Ralph Donald explores how the studios supported the war effort and helped shape the attitudes of an entire generation. Through films the studios appealed to the public’s sense of nationalism, demonized the enemy, and stressed that wartime sacrifices would result in triumph. The author contends that American films of the period used sophisticated, but often overlooked, strategies of propaganda to ideologically unite the country. While these strategies have long been associated with political speeches and writings during the war, little in-depth consideration has been given to their use in the era’s cinema. By examining major motion pictures—including Casablanca, The Flying Tigers, Mrs. Miniver, Sergeant York, They Were Expendable, and many others—Donald illustrates how various propaganda techniques aligned the nation’s entertainment with government aims. Hollywood Enlists! will appeal to readers with interests in war films and motion picture history, as well as politics and social history.
eBook