The immediacy and perceived truth of the visual image, as well as film and television's ability to propel viewers back into the past, place the genre of the historical film in a special category. War films--including antiwar films--have established the prevailing public image of war in the twentieth century. For American audiences, the dominant image of trench warfare in World War I has been provided by feature films such as All Quiet on the Western Front and Paths of Glory. The image of combat in the Second World War has been shaped by films like Sands of Iwo Jima and The Longest Day. And despite claims for the alleged impact of widespread television coverage of the Vietnam War, it is actually films such as Apocalypse Now and Platoon which have provided the most powerful images of what is seen as the "reality" of that much disputed conflict. But to what degree does history written "with lightning," as Woodrow Wilson allegedly said, represent the reality of the past? To what extent is visual history an oversimplification, or even a distortion of the past? Exploring the relationship between moving images and the society and culture in which they were produced and received, World War II, Film, and History addresses the power these images have had in determining our perception and memories of war. Examining how the public memory of war in the twentieth century has often been created more by a manufactured past than a remembered one, a leading group of historians discusses films dating from the early 1930s through the early 1990s, created by filmmakers the world over, from the United States and Germany to Japan and the former Soviet Union. For example, Freda Freiberg explains how the inter-racial melodramatic Japanese feature film China Nights, in which a manly and protective Japanese naval officer falls in love with a beautiful young Chinese street waif and molds her into a cultured, submissive wife, proved enormously popular with wartime Japanese and helped justify the invasion of China in the minds of many Japanese viewers. Peter Paret assesses the historical accuracy of Kolberg as a depiction of an unsuccessful siege of that German city by a French Army in 1807, and explores how the film, released by Hitler's regime in January 1945, explicitly called for civilian sacrifice and last-ditch resistance. Stephen Ambrose contrasts what we know about the historical reality of the Allied D-Day landings in Normandy on June 6, 1944, with the 1962 release of The Longest Day, in which the major climactic moment in the film never happened at Normandy. Alice Kessler-Harris examines The Life and Times of Rosie the Riveter, a 1982 film documentary about women defense workers on the American home front in World War II, emphasizing the degree to which the documentary's engaging main characters and its message of the need for fair and equal treatment for women resonates with many contemporary viewers. And Clement Alexander Price contrasts Men of Bronze, William Miles's fine documentary about black American soldiers who fought in France in World War I, with Liberators, the controversial documentary by Miles and Nina Rosenblum which incorrectly claimed that African-American troops liberated Holocaust survivors at Dachau in World War II. In today's visually-oriented world, powerful images, even images of images, are circulated in an eternal cycle, gaining increased acceptance through repetition. History becomes an endless loop, in which repeated images validate and reconfirm each other. Based on archival materials, many of which have become only recently available, World War II, Film, and History offers an informative and a disturbing look at the complex relationship between national myths and filmic memory, as well as the dangers of visual images being transformed into "reality."

World War II on Film examines the war through the lens of 12 films. The movies selected include productions made during World War II and in each succeeding decade, providing a sense of how different generations perceive the war. World War II on Film provides a succinct yet well-grounded appraisal of that war as seen through 12 representative films. The book separates fact from fiction, showing where the movies were accurate and where they departed from reality, and places them in the larger context of historical and social events. Each movie chosen represents a particular aspect of the conflict, including the air war over Europe, the condition of prisoners of war, Nazi atrocities, and the British evacuation at Dunkirk. Unlike most histories of Hollywood during World War II or the genre of war movies, World War II on Film examines in depth the relation between the depictions of events, beliefs, attitudes, and ways of life as seen on film with reality as documented by historians or recorded by journalists or eye-witnesses to the war. The volume will appeal to high school and college readers, as well as general interest readers and film buffs.

The little-explored story of how politics, propaganda, and profits were combined to create the drama, imagery and fantasy that was American film during World War II. 32 black-and-white photographs.

The Ritz, the Savoy, the Dorchester and Claridge's - during the Second World War they teemed with spies, con-artists, deposed royals and the exiled governments of Europe. Meet the girl from MI5 who had the gravy browning licked from her legs by Dylan Thomas; the barman who was appointed the keeper of Churchill's private bottle of whisky; the East End Communist who marched with his comrades into the air-raid shelter of the Savoy; the throneless prince born in a suite at Claridge's declared Yugoslav territory for one night only. Matthew Sweet has interviewed them all for this account of the extraordinary events that unfolded under the reinforced ceilings of London's grand hotels. Using the memories of first-hand witnesses, the contents of newly declassified government files and a wealth of previously unpublished letters, memoirs and photographs, he has reconstructed a lost world of scandal, intrigue and fortitude.

The immediacy and perceived truth of the visual image, as well as film and television's ability to propel viewers back into the past, place the genre of the historical film in a special category. War films--including antiwar films--have established the prevailing public image of war in the twentieth century. For American audiences, the dominant image of trench warfare in World War I has been provided by feature films such as All Quiet on the Western Front and Paths of Glory. The image of combat in the Second World War has been shaped by films like Sands of Iwo Jima and The Longest Day. And despite claims for the alleged impact of widespread television coverage of the Vietnam War, it is actually films such as Apocalypse Now and Platoon which have provided the most powerful images of what is seen as the "reality" of that much disputed conflict. But to what degree does history written "with lightning," as Woodrow Wilson allegedly said, represent the reality of the past? To what extent is visual history an oversimplification, or even a distortion of the past? Exploring the relationship between moving images and the society and culture in which they were produced and received, World War II, Film, and History addresses the power these images have had in determining our perception and memories of war. Examining how the public memory of war in the twentieth century has often been created more by a manufactured past than a remembered one, a leading group of historians discusses films dating from the early 1930s through the early 1990s, created by filmmakers the world over, from the United States and Germany to Japan and the former Soviet Union. For example, Freda Freiberg explains how the inter-racial melodramatic Japanese feature film China Nights, in which a manly and protective Japanese naval officer falls in love with a beautiful young Chinese street waif and molds her into a cultured, submissive wife, proved enormously popular with wartime Japanese and helped justify the invasion of China in the minds of many Japanese viewers. Peter Paret assesses the historical accuracy of Kolberg as a depiction of an unsuccessful siege of that German city by a French Army in 1807, and explores how the film, released by Hitler's regime in January 1945, explicitly called for civilian sacrifice and last-ditch resistance. Stephen Ambrose contrasts what we know about the historical reality of the Allied D-Day landings in Normandy on June 6, 1944, with the 1962 release of The Longest Day, in which the major climactic moment in the film never happened at Normandy. Alice Kessler-Harris examines The Life and Times of Rosie the Riveter, a 1982 film documentary about women defense workers on the American home front in World War II, emphasizing the degree to which the documentary's engaging main characters and its message of the need for fair and equal treatment for women resonates with many contemporary viewers. And Clement Alexander Price contrasts Men of Bronze, William Miles's fine documentary about black American soldiers who fought in France in World War I, with Liberators, the controversial documentary by Miles and Nina Rosenblum which incorrectly claimed that African-American troops liberated Holocaust survivors at Dachau in World War II. In today's visually-oriented world, powerful images, even images of images, are circulated in an eternal cycle, gaining increased acceptance through repetition. History becomes an endless loop, in which repeated images validate and reconfirm each other. Based on archival materials, many of which have become only recently available, World War II, Film, and History offers an informative and a disturbing look at the complex relationship between national myths and filmic memory, as well as the dangers of visual images being transformed into "reality."

This book examines representations of the Second World War in postwar Chinese and Japanese cinema. Drawing on a wide range of scholarly disciplines, and analysing a wide range of films, it demonstrates the potential of war movies for understanding contemporary China and Japan. It shows how the war is remembered in both countries, including the demonisation of Japanese soldiers in postwar socialist-era Chinese movies, and the pervasive sense of victimhood in Japanese memories of the war. However, it also shows how some Chinese directors were experimenting with alternatives interpretations of the war from as early as the 1950s, and how, despite the "resurgence of nationalism" in japan since the 1980s, the production of Japanese movies critical of the war has continued.

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.

From the Turner Classic Movies Library: Film and history buffs alike will enjoy this engrossing story of Hollywood's involvement in World War II, as it's never before been told. Remember a time when all of Hollywood—with the expressed encouragement and investment of the government—joined forces to defend the American way of life? It was World War II and the gravest threat faced the nation, and the world at large. Hollywood answered the call to action. This is the riveting tale of how the film industry enlisted in the Allied effort during the second World War—a story that started with staunch isolationism as studios sought to maintain the European market and eventually erupted into impassioned support in countless ways. Industry output included war films depicting battles and reminding moviegoers what they were fighting for, "home-front" stories designed to boost the morale of troops overseas, and even musicals and comedies that did their bit by promoting the Good Neighbor Policy with American allies to the south. Stars like Carole Lombard—who lost her life returning from a war bond-selling tour—Bob Hope, and Marlene Dietrich enthusiastically joined USO performances and risked their own health and safety by entertaining troops near battlefronts; others like James Stewart and Clark Gable joined the fight themselves in uniform; Bette Davis and John Garfield created a starry haven for soldiers in their founding of the Hollywood Canteen. Filmmakers Orson Welles, Walt Disney, Alfred Hitchcock, and others took breaks from thriving careers to make films aiming to shore up alliances, boost recruitment, and let the folks back home know what beloved family members were facing overseas. Through it all, a story of once-in-a-century unity—of a collective need to stand up for humanity, even if it means risking everything—comes to life in this engrossing, photo-filled tale of Hollywood Victory.

Lively, comprehensive analysis of World War II movies.