This book explores the role of humor and entertainment during World War I, highlighting how they provided relief for soldiers and bolstered support on the home front. It examines the transnational war culture through light-hearted discourses related to the Great War.
The exploration of gender and heroism in war films reveals how these motifs justify ideological stances and shape public perceptions of military conflicts. Contributors analyze the impact of cinematic representations on political agendas, institutional support, and collective memory, highlighting the profound influence of filmic portrayals on societal views of war and heroism.
This book challenges the Hollywood portrayal of love as a "happy ending," examining it instead as a complex transgression. Contributors employ diverse methodologies, including textual analysis and cultural critique, to analyze films and address themes of gender identity and spectatorship.
In diesem Buch wird Michael Hanekes Darstellung der Medien-Gewalt kontrastiert mit dem Werk anderer international anerkannter Filmemacher, die, so wie er, die Fernseh-Medien und das Video als zentrales, die Erzählung vorantreibendes Element, in ihren Filmen verwenden. Das verbindende Element dieser Filme ist die latente und offene Gewalt in der Gesellschaft.Folgende Filme werdenMichael Der siebte Kontinent, (1988), Benny s Video (1992), Cache (2005)Atom Egoyan, Family Viewing (1987)Alejandro Amenabar, Tesis (1997)David Cronenberg Videodrome (1982)Darren Aronofsky (USA), Requiem for a Dream (2000)Gore Verbinski (USA), The Ring (2002)