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ORIGINATING IN THE MID-1960S and lasting well into the late 1970s, a much-discussed nostalgia wave washed over the American cultural landscape. Beginning with films such as Bonnie and Clyde (1967), [...]

Military historians claim with some justice that, since the 1960s, the Western Front of 1914 to 1918 has been partitioned into a 'Western Front of history' and a 'Western Front [...]

Shakespeare's Corioianus contains a significant amount of homoerotic material, much of it linked to the Roman protagonist's bond with his Volscian opponent, Aufidius. However, this homoeroticism did not begin to [...]

Depictions of the World War II battler play an integral role in Australia's 'national story'. According to Ronan MacEwan, Jonathan Teplitzky's The Railway Man contributes to this mythology that shapes [...]

Combat movies (especially those set in World War II) traditionally give women little screen time. Women tend to be cast in secondary roles: as sweethearts, sisters, wives and mothers--that is, [...]

Cinema is one medium that allows us to literally look back and come to terms with our national and international memories, and in particular memories of war. Most films restage [...]

This essay traces the production and reception history of Hearts of the World (1917), the American war propaganda film directed by D.W. Griffith at the behest of the British government. Drawing on extensive original research, it reveals his experiences in Europe, the problems left behind in California, the creation of a script, production details, and finally the reception and marketing of the film. Key words: D.W. Griffith; David Lloyd George; Hearts of the World (1917); World War I film propaganda; Morris Gest; Lillian Gish., I went to London a total stranger to those with whom I worked .... I felt that I could do some good toward letting the world know war conditions and [...]

'We have done nothing. ... Yes, you see that in the camera.' --Yunis Khatayer Abbas The war in Iraq, officially launched in March 2003, has become the most filmed war [...]

This study attempts to account for the haunting power and the enduring legacy of the most wrenching shot-sequence in Roberto Rossellini's Rome, Open City. I am speaking of the scene [...]

A structuralist reading of Mikhail Sholokhov's short story 'Sud'ba cheloveka' ('The Fate of a Man' ) and its screen version by Sergei Bondarchuk is presented that reveals how a literary depiction of war that glorifies Socialist Realism becomes a narrative of trauma on the film screen.

The Winter Soldier Hearings were convened in 1971 in Detroit, Michigan, by the ad hoc Citizens Commission of Inquiry, comprised mostly of Vietnam Veterans Against the War but also religious, labor and celebrity antiwar activists. The proceedings listened to the testimony of more than 100 Veterans and followed established legal doctrine to document that killings like the My Lai Massacre were not isolated incidents but formed part of a larger, systematic breakdown of command and control within the military itself.

The 1998 Japanese movie 'Pride: The Fateful Moment' is examined since it reintroduces into Japanese popular culture and projects positively Tojo Hideki, Japan's war-time leader who was tried and executed for war crimes in 1948. It projects the nationalism as 'banal' or always prevalent, taken for granted and not cultivated, and also uses the symbolism of Tojo's relations to the Indian independence movement and Indian leaders in order to lend him a positive projective identification, thus also representing in an indirect way the nationalist project of the film.

Lebanese cinema generally chooses to ignore the role of women as active agents in the civil war, either relegating them to the position of victims or ignoring them altogether. However, two films, Randa Chahal Sabbag's 'A Civilized People' and Ziad Doueiri's 'West Beyrouth', choose to use women as the voice of the taboos in Lebanese war society, and it is this voice that makes the films an important constituent in the process of creating a much-needed national discourse in Lebanon.

The film 'Black Hawk Down' functioning rhetorically to reconstruct the legitimacy of political and military institutions and policy, and the possibilities for efficacious, responsible citizen agency within the post September 11, 2001 context of increasingly unconventional welfare is examined. A worldview will encourage many Americans to substitute patriotism and an affinity for the ' humble heroism' of soldiers for critical discourse on the purposes and direction of American military policy.

Italy's entry into the war has been nothing but a disaster for us. If the Italians hadn't attacked Greece and needed our help, the war would have taken a different [...]

The flaneur, an important linkage in post-war films is investigated through the film depictions of wanderings in the post-war city, usually Berlin, with movement and mobility becoming key metaphors for the films' representational strategies. The flaneur combines the triad of urban space in memory, the memories of war and a specific disciplining of the flaneur's idle movement, which acknowledges a hesitant association with German modernity.

Israeli war films of the 1950s and 60s focused on the typically male fantasy in which a soldier is prepared to sacrifice his body to torture and harm--and sometimes even [...]

THIS SAD, FUNNY, thought-provoking film about the Bosnian War will remain timely for some years to come. While the artistic gestures of the classic anti-war movie seem to have hardened [...]

This paper challenges the assertion of Western film criticism that the Asian woman warrior is a new phenomenon. Rather, I suggest that because of its exposure to early Hollywood interpretations [...]

A close textual analysis of Tony Bui's film 'Three Seasons' is presented to focus upon its observing relations between men and women as the point-of-view shots in the film crystallize the ideological positioning of the movie in terms of gender. Tony Bui remakes the Hollywood Vietnam war movie in a manner that renounces the Vietnamese female subject by refusing point-of-view shots for most of his female characters.

In the chapter 'Participant Observers' in his 1972 Film as Film V.F. Perkins writes the following: [F]ilms are unlikely to replace speech or writing as the medium for examining and [...]

An analysis of film director Terrence Malick's 'The Thin Red Line' is presented. Issues include the film's discussion of metaphysics, the portrayal of humans' relationship with nature, and the depiction of war.

Critics of the Steven Spielberg war movie entitled 'Saving Private Ryan' believe that the movie failed in one aspect. The film hailed military virtue too much by making it appear that it is morally right to sacrifice the lives of other soldiers to save the life of just one soldier., Among the groups of scared, tired riflemen along the beach were a few intrepid leaders - officers, noncoms, and privates on whose individual backs the big responsibility at the moment [...]

The Battle of Algiers, arguably the most famous and influential political film ever made, was a sensation from the moment it opened at the Venice Film Festival in 1966. French [...]