Global ETD Search

1	Foreign Bodies: Military Medicine, Modernism and Melodrama White-Stanley, Debra Marie January 2006 (has links) Foreign Bodies: Military Medicine, Modernism and Melodrama traces how representations of warfare in the modernist novel, girls' romances, nursing memoirs, and war films dramatize the humanitarian disaster of war through the figure of woman. My analysis focuses on the visual and literary poetics of violence as troped in and through the bodies of combat nurses. The "uncanny" serves as a lens to explore the complex links between gendered war work and the radical transgression of the boundaries of the nation state and the body experienced during wartime. To establish the unique explanatory power of the uncanny for gender issues, I trace how feminist and postcolonial theorists have revised Freud's analysis of the uncanny. I trace medical metaphors of wounding and infection in the novel and various cinematic adaptations of A Farewell to Arms (1932, 1951, 1957, 1996). I read the letters and diaries of World War I nurse Agnes von Kurowsky against the censored memoirs of American nurses Mary Borden and Ellen La Motte. I show how the uncanny aesthetic adopted by Ernest Hemingway in A Farewell to Arms is subverted by these women writers. I explore how these uncanny aesthetics also manifest in adolescent nursing romances from Sue Barton to Cherry Ames. With the onset of World War II, I trace how the discourse of foreign bodies in relation to the metaphor of malaria in the South Pacific. Focusing on the portrayal of the Japanese foreign body, often encoded through off-screen sound, I demonstrate how medical metaphors of malaria operate in films portraying nursing in the South Pacific such as So Proudly We Hail (1943) and Cry Havoc (1943). Turning to the Korean and Vietnam Wars, I explore the representation of post-traumatic stress disorder in MAS*H (1970) and in nursing memoirs such as American Daughter Gone to War (1992) and Home Before Morning (1983). I bring this history of nursing representation to bear on media texts concerning the war in Iraq including Baghdad E.R. (HBO, 2006). war film war literature women and war the uncanny war and television war memoirs
2	The long war onscreen: a genre study of the war on terror in American cinema Henson, Jason Kyle 13 July 2017 (has links) Over fifteen years since the September 11 terrorist attacks, the United States is still fighting the nebulous “War on Terror” – a conflict that includes ground wars in Iraq and Afghanistan as well as covert operations around the world (including the homeland). American cinema responded to the War on Terror in fits and starts, with many filmmakers wary of tackling such a controversial topic. For a War on Terror film to be financially successful, it would need to appeal to both supporters and detractors of the war effort. To do so, the War on Terror film genre builds on the narrative, characterization, and aesthetic frameworks of the war films of World War II and the Vietnam War to develop a set of conventions that recall the ideological projects of the films of those previous wars. By examining the combat film, espionage film, and returning soldier film subgenres, this thesis will demonstrate how the War on Terror film genre formally and ideologically represents the divisive ongoing war to appeal to both pro-war and anti-war viewers. Film studies Afghanistan Film Middle East United States War film War on terror
3	The cinematic corpography of war : re-mapping the war film through the body Rositzka, Eileen January 2017 (has links) In this thesis, I explore the ways the sensory experience of war is staged as a corporeal apprehension of space in the Hollywood war film. Placing an emphasis on films that foreground tactile, and sonic experience in combat as a key dimension of symbolic meaning in the depiction of war, I move beyond the emphasis on optics and weaponised vision that has largely dominated contemporary writing on war and cinema in order to highlight the wider sensory field that is powerfully evoked in this genre. In my conception of war cinema as representing a somatic experience of space, I am applying 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. Gregory's 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 imply 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. The thesis focuses on selected films exemplary of the aesthetic continuities and changes in American cinema's audio-visual representation of war (with each chapter centring on a specific military conflict and historical constellation): All Quiet on the Western Front (1930), Paths of Glory (1957), Objective, Burma! (1945), Fury (2014), Men in War (1957), The Boys in Company C (1978), Rescue Dawn (2006), and Zero Dark Thirty (2012).
4	Komparace úlohy a obrazu médií ve válce v Jugoslávii a v Perském zálivu v hraných a dokumentárních filmových dílech / Comparison of picture of media and its role in feature films and documentaries about wars in Yugoslavia and Persian Gulf Knapp, Radim January 2013 (has links) This diploma thesis deals with the depiction of the role of media and journalists in war conflicts. It analyses the way the film producers portray media and journalistic work, their characters and abilities. The analysis also looks for attributes of professional journalistic routine in the hostile environment of the war zones, how media and journalists communicate with each other, the way they interact with civilians, soldiers, how critical they are towards the official establishment line of their editors or governments. The method used for analysing the feature and documentary films was the qualitative content analysis. After seeing the films several times, eleven categories that represented best the groups of similarities concerning media and journalists were defined throughout the analysed films. After that, charts were created where brief descriptions of categories and data were lined up and then compared. The next part of the analysis inspects these data even deeper. The result shows how the film makers depict journalistic routines and which stereotypes they use. We also learn whether the picture of the journalists differs according to each of the conflicts when we know that there were utterly different motivations behind them.
5	Obraz sovětské Dělnicko-rolnické rudé armády ve filmu / The Image of the Soviet Workers and Peasants Red Army on the Big Screen Křišťan, Vlastimil January 2018 (has links) The Author in his work deals with the transformation of the image of members of the Workers' and Peasants' Red Army in a film during the 20th century. Initial chapters are devoted to general aspects of use of movies in Memory studies and the development of the film industry in the USSR. The main part of the work focuses primarily on image of the Workers' and Peasants' Red Army in film of Soviet origin, the use of symbols and images and propaganda frameworks of Soviet filmmaking during the "short" 20th century, extending to the period after 1989 and examining the surviving Soviet discourse in it. To process the author uses Ego documents, contemporary press, studies, monographs and publicated archival sources.
6	Presenting The Ward : A Study of the "Educational" and Three National Institute of Mental Health-Approved Films (U.S. 1950s) Neuman, Marcus January 2022 (has links) The subject of mental illness and the various disorders associated with it, is frequently sensationalized and capitalized upon in visual art forms. In cinema, many narratives have addressed or challenged public conceptions of mental illnesses, raising concerns about socially relatable consequences such as stigma. The main body of this thesis is structured around mental health educational films produced for didactic use within the United States during the 1950s. Following the end of the Second World War, the formation of the United Nations and the proclamation of the Universal Declaration of Human Rights in the late 1940s, the 1950s is argued to constitute a shift in approach on how mental health treatment was to be presented to the public. Topics such as illness, post-war, stigma and institutionalization are explored in three case studies – Man to Man (Irving Jacoby, 1953), Mental Hospital (Leyton Mabrey, 1953), and Back Into the Sun (Fergus McDonell, 1958). Educational films Psych Ward Mental illness Patients Stigma Deinstitutionalization Post-War Film The Snake Pit Man to Man Mental Hospital Back Into The Sun. Studies on Film Filmvetenskap
7	Genre memory in the twenty-first century American war film : how post-9/11 American war cinema reinvents genre codes and notions of national identity Trafton, John January 2013 (has links) In this thesis, I argue that twenty-first century American war films are constructed in dialogue with the past, repurposing earlier forms of war representation by evoking the visual and narrative memory of the past that is embedded in genre form—what Mikhail Bakhtin calls 'genre memory.' Comparing post-9/11 war films with Vietnam War films, my project examines how contemporary war films envision war's impact on culture and social space, explore how war refashions ideas about race and national identity, and re-imagine war's rewriting of the human psyche. My research expands on earlier research and departs from traditional approaches to the war film genre by locating the American Civil War at the origin of this genre memory, and, in doing so, argues that nineteenth century documentation of the Civil War serves as a rehearsal for the twentieth and twenty-first century war film. Constructed in explicit relation to the Vietnam film, I argue that post-9/11 war films rehearse the history of war representation in American culture while also emphasizing the radically different culture of the present day. Rather than representing a departure from past forms of war representation, as has been argued by many theorists, I show that contemporary American war films can be seen as the latest chapter in a long history of reimagining American military and cultural history in pictorial and narrative form. 791.43
8	Robert RYAN ou la fureur souterraine : jeu d'acteur d'une "non-star" hollywoodienne / Robert Ryan or the Underground Fury : acting of a Hollywood “Non-Star” Balso, André 03 July 2018 (has links) Robert Ryan (1909-1973) était de ces acteurs qui ne furent jamais starifiés. Pour autant, il ne resta pas non plus entièrement dans l’ombre de ses contemporains les plus reconnus. Rendu célèbre au cours de l’année 1947 par Crossfire (Feux croisés, Edward Dmytryk), il fut, depuis cette zone grise de la « non-starification », ce personnage de film noir à la fois névrosé et violent, tout aussi affirmatif que désorienté – mais pas uniquement. Aujourd’hui oublié comme la plupart des acteurs de cette catégorie, il apparut pourtant dans soixante-treize longs-métrages, parfois réalisés par des cinéastes de renoms tels que Jean Renoir, Nicholas Ray, Anthony Mann, Max Ophuls ou encore Fritz Lang, et sa carrière se prolongea au théâtre et à la télévision. En partant de quelques incarnations pour remonter vers ce qui faisait la singularité du jeu de Robert Ryan, puis en tentant d’inscrire l’acteur dans l’histoire esthétique du cinéma de son temps, le présent texte se penche sur l’un de ces Hollywood standby méconnus, qui firent pourtant office de matériaux essentiels aux films américains classiques. / Robert Ryan (1909-1973) was one of those actors who never became a movie star. However, he was not completely in the shadow of his famous contemporaries. Celebrated for his part in Edward Dmytryk’s Crossfire (1947), he was this "non-star" actor playing neurotic, violent, affirmative and disorientated film noir characters, but he was not only that. If he has been forgotten today, like most actors of his kind, he nevertheless made seventy-three movies, sometimes directed by filmmakers such as Jean Renoir, Nicholas Ray, Anthony Mann, Max Ophuls or Fritz Lang, and he also had a career in theatre and television. Through the description of some of his roles, by analyzing the peculiarity of his acting style, and trying to place him within the aesthetic history of American cinema, the following text deals with one of those underrated "Hollywood standby", that were vital to the craft of American cinema. Robert Ryan Cinéma Acteur Film Hollywood Personnage Film noir Drame Jeu Archétype Genre Rôle Robert Ryan Cinema Actor Movie Hollywood Character Western War film Drama Acting Type Genre Part Persona
9	Representaciones de la Guerra Civil Espanola en la novela y el cine: Hacia una comprension del pasado y una reconciliacion con la realidad actual Hogue, Kari L. 05 April 2013 (has links) No description available. History Literature Foreign Language European History Spanish Civil War 1936-1939 Historical Memory Law of Historical Memory Victims of War Spanish film War novels Spanish film War film Ley de Memoria Historica Victimas de la Guerra Guerra Civil Representaciones en la novela y el cine
10	Cinéma et expérience totalitaire : le laboratoire du genre du film de guerre dans l'Italie fasciste (1935-1943) / Cinema and the totalitarian experiment : the laboratory of the war film genre in Fascist Italy (1935-1943) Courriol, Marie-France 10 December 2015 (has links) Cette thèse analyse les films de guerre de fiction produits dans l’Italie fasciste de 1935 à 1943, de la Guerre d’Ethiopie à la fin de la Seconde Guerre mondiale. Elle démontre que le genre de guerre fonctionne comme un laboratoire pour l’entreprise de révolution anthropologique de l’Italie, inhérente à l’expérience totalitaire fasciste. Ce modèle cinématographique et social est en effet célébré comme devant s’étendre à l’ensemble du monde cinématographique italien, et ses caractéristiques à l’écran sont censées fournir l’image d’une société fasciste idéale.Après avoir analysé la mise en place du film de guerre italien dans ses discours, ses institutions et ses circulations internationales, ce travail examine les réponses de la production cinématographique. Il se clôt sur la perception du genre de guerre, ses spectateurs, sa réception et sa publicité. Il montre que les films de guerre de la période forment un lieu où coexistent de nombreux objectifs servant des groupes variés. Reposant en grande partie sur des archives d’Etat et de cinéastes, ce travail se concentre sur des études de cas de producteurs (Scalera, Bassoli Film), de réalisateurs (Goffredo Alessandrini, Mario Camerini, Francesco De Robertis, Augusto Genina, Romolo Marcellini, Roberto Rossellini), de scénaristes (Asvero Gravelli, Gian Gaspare Napolitano) et de réception de films particuliers. Cette étude des réponses multiples aux demandes d’un système totalitaire en formation dans le champ cinématographique entend contribuer au débat historiographique sur l’adhésion populaire au fascisme, en en élargissant les paramètres. En outre, bien que le genre joue un rôle central dans le développement de l’industrie cinématographique nationale, ce travail démontre cependant la nécessité d’interpréter ces films en termes transnationaux et non comme simples produits politiques et nationaux. / This thesis analyses the fictional war films produced in Fascist Italy from 1935 to 1943, from the Ethiopian war to the end of WWII. It argues that this genre functioned as a laboratory for the anthropological renewal of Italy in the Fascist totalitarian experiment. Fascist critics celebrated it as a cinematic and social model that had to be applied to the whole Italian film world, and whose on-screen features were to become the mirror image of an ideal Fascist society. After tracing the foundations of the Italian war film genre (critical debates, international circulation), the thesis interrogates the positioning of film professionals in relation to Fascist cultural policies. Lastly, it redefines the genre in terms of its interactions with Italian viewers and through advertisement. This thesis shows that war films of the period constitute a contested site serving multiple purposes for multiple groups. Relying primarily on archival material from Italy’s state archives and filmmakers’ private papers, this work presents several case studies of producers (Scalera, Bassoli Film), directors (Goffredo Alessandrini, Mario Camerini, Francesco De Robertis Augusto Genina, Romolo Marcellini, Roberto Rossellini), screenwriters (Asvero Gravelli, Gian Gaspare Napolitano) and reception of specific films. A study of the multiple responses to the demands of an aspiring totalitarian system, both from the point of view of film consumption and filmmaking, contributes to the historiographical debate on Fascism by broadening the parameters of the longstanding debate on popular consent for the regime. In addition, this work demonstrates the need to interpret these films in a transnational perspective and not as mere political and national products. Cinéma italien Histoire du cinéma Fascisme Histoire culturelle du fascisme Politiques cinématographiques Totalitarisme Propagande Genre cinématographique Film de guerre Cinéma colonial Industrie cinématographique Militarisation Guerre et cinéma Roberto Rossellini Goffredo Alessandrini Mario Camerini Francesco De Robertis Augusto Genina Romolo Marcellini Asvero Gravelli Gian Gaspare Napolitano Écriture cinématographique Réception Guerre d’Ethiopie Seconde Guerre mondiale Guerre d’Espagne Critique cinématographique Adhésion populaire Italian cinema Film history Fascism Cultural history of the Fascist period Film policies Totalitarianism Propaganda Film genre War film Colonial cinema Film industry Militarisation War and cinema Roberto Rossellini Goffredo Alessandrini Mario Camerini Francesco De Robertis Augusto Genina Romolo Marcellini Asvero Gravelli Gian Gaspare Napolitano Screenwriting Reception Representation of the First World War Ethiopian war Second World War Spanish Civil War Film criticism Popular consent

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