Film moves audiences like no other medium; both documentaries and feature films are especially remarkable for their ability to influence viewers. Best-selling author James Brady remarked that he joined the Marines to fight in Korea after seeing a John Wayne film, demonstrating how a motion picture can change the course of a human life -- in this case, launching the career of a major historian and novelist. In Why We Fought: America's Wars in Film and History, editors Peter C. Rollins and John E. O'Connor explore the complexities of war films, describing the ways in which such productions interpret history and illuminate American values, politics, and culture. This comprehensive volume covers representations of war in film from the American Revolution in the 18th century to today's global War on Terror. The contributors examine iconic battle films such as The Big Parade (1925), All Quiet on the Western Front (1930), From Here to Eternity (1953), and Platoon (1986), considering them as historical artifacts. The authors explain how film shapes our cultural understanding of military conflicts, analyzing how war is depicted on television programs, through news media outlets, and in fictional and factual texts. With several essays examining the events of September 11, 2001, and their aftermath, the book has a timely relevance concerning the country's current military conflicts. Jeff Chown examines controversial documentary films about the Iraq War, while Stacy Takacs considers Jessica Lynch and American gender issues in a post-9/11 world, and James Kendrick explores the political messages and aesthetic implications of United 93. From filmmakers who reshaped our understanding of the history of the Alamo, to Ken Burns's popular series on the Civil War, to the uses of film and media in understanding the Vietnam conflict, Why We Fought offers a balanced outlook -- one of the book's editors was a combat officer in the United States Marines, the other an antiwar activist -- on the conflicts that have become touchstones of American history. As Air Force veteran and film scholar Robert Fyne notes in the foreword, American war films mirror a nation's past and offer tangible evidence of the ways millions of Americans have become devoted, as was General MacArthur, to "Duty, honor, and country." Why We Fought chronicles how, for more than half a century, war films have shaped our nation's consciousness.
Why We Fought is a timely and provocative analysis that examines why Americans really chose to sacrifice and commit themselves to World War II. Unlike other depictions of the patriotic “greatest generation,” Westbrook argues that, ...
This is a timeless story of men at war and a heartbreaking account of American sacrifice in Iraq.
A historian explores the possibility that the Civil War started not because of slavery, but because the South was chosen to house the nation's leadership instead of in Northern New England where the Revolution had begun. 35,000 first ...
Private Paul Francis recalled being marched to the movie theatre in Skagway. For the first time in his life, he wasn't relegated to the balcony. That, of course, was because the black soldiers were the only patrons.
Charley ( or Charlotte ) Anderson , of Cleaveland . ... She has told me the truth , I think , about herself . " There can be no doubt that general knowledge of women discovered while serving in Union regiments contributed to Patrick's ...
Examines reasons why the major combatants fought in the Revolutionary War and how those motivations changed throughout the war.
“Highly detailed and fast-paced, Charles Glass’s They Fought Alone is a must-read for those whose passion is the Resistance literature of World War II.” —Alan Furst, author of A Hero of France From the bestselling author of ...
Explains the importance of key battles during the American Revolution.
The Second World Wars examines how combat unfolded in the air, at sea, and on land to show how distinct conflicts among disparate combatants coalesced into one interconnected global war.
Again and again British politicians, commentators and celebrities intone that 'The War on Drugs has failed'. They then say that this is an argument for abandoning all attempts to reduce drug use through the criminal law.