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Hollywood Remembrance and American War addresses the synergy
between Hollywood war films and American forms of war remembrance.
Subjecting the notion that war films ought to be considered 'the
war memorials of today' to critical scrutiny, the book develops a
theoretical understanding of how Hollywood war films, as rhetorical
sites of remembering and memory, reflect, replicate and resist
American modes of remembrance. The authors first develop the
framework for, and elaborate on, the co-evolution of Hollywood war
cinema and American war memorialization in the historical,
political and ideological terms of remembrance, and the parallel
synergic relationship between the aesthetic and industrial status
of Hollywood war cinema and the remembering of American war on
film. The chapters then move to analysis of Hollywood war films -
covering The Great War, World War II, The Korean War, The Vietnam
War, The Cold War, and the wars in Afghanistan and Iraq - and
critically scrutinize the terms upon which a film could be
considered a memorial to the war it represents. Bringing together
the fields of film studies and memory studies, this book will be of
interest to scholars and students in not just these areas but those
in the fields of history, media and cultural studies more broadly,
too.
Hollywood Remembrance and American War addresses the synergy
between Hollywood war films and American forms of war remembrance.
Subjecting the notion that war films ought to be considered 'the
war memorials of today' to critical scrutiny, the book develops a
theoretical understanding of how Hollywood war films, as rhetorical
sites of remembering and memory, reflect, replicate and resist
American modes of remembrance. The authors first develop the
framework for, and elaborate on, the co-evolution of Hollywood war
cinema and American war memorialization in the historical,
political and ideological terms of remembrance, and the parallel
synergic relationship between the aesthetic and industrial status
of Hollywood war cinema and the remembering of American war on
film. The chapters then move to analysis of Hollywood war films -
covering The Great War, World War II, The Korean War, The Vietnam
War, The Cold War, and the wars in Afghanistan and Iraq - and
critically scrutinize the terms upon which a film could be
considered a memorial to the war it represents. Bringing together
the fields of film studies and memory studies, this book will be of
interest to scholars and students in not just these areas but those
in the fields of history, media and cultural studies more broadly,
too.
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