A Companion to the War Film Cunningham/A Companion to the War Film

__A Companion to the War Film__ contains 27 original essays that examine all aspects of the genre, from the traditional war film, to the new global nature of conflicts, and the diverse formats that war stories assume in today’s digital culture. * Includes new works from experienced and emerging scholars that expand the scope of the genre by applying fresh theoretical approaches and archival resources to the study of the war film * Moves beyond the limited confines of “the combat film” to cover home-front films, international and foreign language films, and a range of conflicts and time periods * Addresses complex questions of gender, race, forced internment, international terrorism, and war protest in films such as __Full Metal Jacket, Good Kill, Grace is Gone, Gran Torino, The Messenger, Snow Falling on Cedars, So Proudly We Hail, Tae Guk Gi: The Brotherhood of War, Tender Comrade,__ and __Zero Dark Thirty__ * Provides a nuanced vision of war film that brings the genre firmly into the 21st Century and points the way for exciting future scholarship Title Page 5 Copyright Page 6 Contents 7 Contributors 9 Introduction 15 Chapter 1 “Hearing” the Music in War Films 20 Notes 30 References 32 Chapter 2 Antilochus’s Burden: The Crisis–Catharsis Rhetoric of Bereavement Messages 34 Bereaving for Patroclus: The Origin of the Death Message 34 Saving Private Ryan and The Messenger: Rhetoric, Catharsis, Purgation 36 The Message of Citizenship and Sacrifice 40 Notes 48 References 48 Chapter 3 War Films in an Age of War and Cinema 50 Notes 68 References 69 Chapter 4 Exploring War Horror’s Narrative Punch in Spielberg’s Munich and Saving Private Ryan 70 Notes 83 References 84 Chapter 5 The Service Tragicomedy: From Woody Allen to Full Metal Jacket 85 Far Cry from Rebellion: War and Comedy 87 The Vietnam Era: No Time for “Service Comedy” 91 Old-Time Laughs Gone (New): Allen and Kubrick 93 Notes 100 References 101 Chapter 6 The Wartime American Woman on Film: Home-Front Soldier 103 Lives of American Women Revolutionized by War 104 Branches of Service for the Home-Front Soldier on Film 106 Notes 118 References 118 Further Reading 119 Chapter 6 “Conspiracy of Silence”: The Containment of Military Women in World War II Newsreels and Short Films 120 Introduction 120 Slander and the Soldier Girl 123 Sabotage and Denial of Status: Women Air Force Service Pilots 129 Women Are Very Essential Sometimes 132 Notes 139 References 140 Chapter 8 Filming a Nuclear State: The USAF’s Lookout Mountain Laboratory 143 Lookout Mountain: An Inquiry 145 Lookout Mountain: A Brief History 147 Lookout Mountain: A Laboratory of (Cold) War Film 149 Operation Ivy 152 Co-Production and Mutual Orientation at Lookout Mountain 157 Conclusion 160 Notes 161 References 162 Chapter 9 The Gendered Remembrance of Japanese‐American Internment: Come See the Paradise and Snow Falling on Cedars 164 References 176 Chapter 10 “The Angels of Bataan and Corregidor”: Representing Nurses in the Pacific Theater 177 So Proudly We Hail: The Disembodied Voice and the Home at War 179 Cry Havoc: Surrounding Domestic Space with Orientalist Sound 184 They Were Expendable: Serenading the Nurse 187 Conclusion 191 Notes 192 References 192 Chapter 11 In the Exigency of a National Cause: Bollywood’s Responses to the Kargil War 194 Notes 209 References 210 Chapter 12 Transnational Algerian War Cinema Revisited: Comic Relief in Merzak Allouache’s Bab el-oued City and Bab el-Oued 212 Nostalgic Returns: A Pieds-noirs Vision of the “Homeland” 218 Fragile Masculinities 221 Dreaming of Freedom: Female Characters 223 Notes 225 References 226 Chapter 13 Fifty Years Hence: The Forgotten War Remembered in South Korean and American Cinema 228 References 246 Chapter 14 Dresden (2006): Marketing the Bombing of Dresden in Germany, Great Britain, and the United States 248 German Polarities and Dresden as Disaster Movie 249 “Bomber” Harris and the Legacy of British Bombing in World War II 255 The Inadequacy of Melodrama 262 Conclusion 265 References 266 Chapter 15 How to Recognize a War Movie: The Contemporary Science-Fiction Blockbuster as Military Recruitment Film 267 Notes 283 References 284 Chapter 16 Making Citizens out of Soldiers: Rearming the Individual in Paul May’s 08/15 285 Notes 300 References 300 Chapter 17 Those at Home Also Serve: Women’s Television and Embedded Military Realism in Army Wives (Lifetime, 2006–2014) 303 Notes 316 References 317 Chapter 18 Generation Kill: The Invasion of Iraq As Seen on HBO 319 Notes 332 References 332 Chapter 19 “TiK ToK on the Clock, but the Party Don’t Stop, No”: The Parodic Military Dance Video on YouTube 334 Notes 349 References 350 Chapter 20 Kuwaiting for Godot: The Absurd Theatre of War in Jarhead 352 Notes 367 References 368 Chapter 21 The Meaning of the Soldier: In the Year of the Pig and Hearts and Minds 370 References 383 Chapter 22 Why We (Shouldn’t) Fight: The Double-Optic of the War Documentary 385 Notes 396 References 397 Chapter 23 A War for Everyone: Strategic Ambiguity in the Home-Front War Drama 399 Notes 413 References 414 Chapter 24 Is There Such a Thing as an Antiwar Film? 418 Notes 432 References 433 Further Reading 435 Chapter 25 Through a Soldier’s Eyes: Stereoscopic Gazing in Operation Homecoming: Writing the Wartime Experience 436 Making War Easy 437 Identification through Perspective Taking 439 Operation Homecoming 440 “Section 1: Trauma and the Inexpressibility of War” 442 “Section 2: Regarding Enemies” 443 “Section 3: The Dead and the Dying” 452 Conclusion 454 Notes 456 References 456 Index 459 EULA 474 "A Companion to the War Film contains 27 original essays that examine all aspects of the genre, from the traditional war film, to the new global nature of conflicts, and the diverse formats that war stories assume in today's digital culture. Includes new works from experienced and emerging scholars that expand the scope of the genre by applying fresh theoretical approaches and archival resources to the study of the war film ; Moves beyond the limited confines of 'the combat film' to cover home-front films, international and foreign language films, and a range of conflicts and time periods ; Addresses complex questions of gender, race, forced internment, international terrorism, and war protest in films such as Full Metal Jacket, Good Kill, Grace is Gone, Gran Torino, The Messenger, Snow Falling on Cedars, So Proudly We Hail, Tae Guk Gi: The Brotherhood of War, Tender Comrade, and Zero Dark Thirty ; Provides a nuanced vision of war film that brings the genre firmly into the 21st Century and points the way for exciting future scholarship"--Provided by publisher A Companion to the War Film" contains 27 original essays that examine all aspects of the genre, from the traditional war film, to the new global nature of conflicts, and the diverse formats that war stories assume in today s digital culture. It includes new works from experienced and emerging scholars that expand the scope of the genre by applying fresh theoretical approaches and archival resources to the study of the war film and moves beyond the limited confines of the combat film to cover home-front films, international and foreign language films, and a range of conflicts and time periods. It addresses complex questions of gender, race, forced internment, international terrorism, and war protest in films such as Full Metal Jacket, Good Kill, Grace is Gone, Gran Torino, The Messenger, Snow Falling on Cedars, So Proudly We Hail, Tae Guk Gi: The Brotherhood of War, Tender Comrade, and Zero Dark Thirty and provides a nuanced vision of war film that brings the genre firmly into the 21st Century and points the way for exciting future scholarship A Companion to the War Film contains 27 original essays that examine all aspects of the genre, from the traditional war film, to the new global nature of conflicts, and the diverse formats that war stories assume in today’s digital culture. Includes new works from experienced and emerging scholars that expand the scope of the genre by applying fresh theoretical approaches and archival resources to the study of the war film Moves beyond the limited confines of “the combat film” to cover home-front films, international and foreign language films, and a range of conflicts and time periods Addresses complex questions of gender, race, forced internment, international terrorism, and war protest in films such as Full Metal Jacket, Good Kill, Grace is Gone, Gran Torino, The Messenger, Snow Falling on Cedars, So Proudly We Hail, Tae Guk Gi: The Brotherhood of War, Tender Comrade, and Zero Dark Thirty Provides a nuanced vision of war film that brings the genre firmly into the 21 st Century and points the way for exciting future scholarship "A Companion to the War Film contains 27 original essays that examine all aspects of the genre, from the traditional war film, to the new global nature of conflicts, to the diverse formats war stories assume in today's digital culture"-- Provided by publisher