Martial Culture, Silver Screen analyzes war movies, one of the most popular genres in American cinema, for what they reveal about the narratives and ideologies that shape U.S. national identity. Edited by Matthew Christopher Hulbert and Matthew E. Stanley, this volume explores the extent to which the motion picture industry, particularly Hollywood, has played an outsized role in the construction and evolution of American self-definition. Moving chronologically, eleven essays highlight cinematic versions of military and cultural conflicts spanning from the American Revolution to the War on Terror. Each focuses on a selection of films about a specific war or historical period, often foregrounding recent productions that remain understudied in the critical literature on cinema, history, and cultural memory. Scrutinizing cinema through the lens of nationalism and its "invention of tradition", Martial Culture, Silver Screen considers how movies possess the power to frame ideologies, provide social coherence, betray collective neuroses and fears, construct narratives of victimhood or heroism, forge communities of remembrance, and cement tradition and convention. Hollywood war films routinely present broad, identifiable narratives such as that of the rugged pioneer or the "good war" through which filmmakers invent representations of the past, establishing narratives that advance discrete social and political functions in the present. As a result, cinematic versions of wartime conflicts condition and reinforce popular understandings of American national character as it relates to violence, individualism, democracy, militarism, capitalism, masculinity, race, class, and empire. Approaching war movies as identity-forging apparatuses and tools of social power, Martial Culture, Silver Screen lays bare how cinematic versions of warfare have helped define for audiences what it means to be American.

Alex Salmond and Nicola Sturgeon's political partnership changed the face of Scotland, bringing the country to within 200,000 votes of independence in 2014 and holding sway at Holyrood for more than a decade. Since the referendum, Scottish nationalism has been a movement on the up, but the relationship between the former First Minister and his protegee and successor has broken down. Break-Up tells the inside story of how an alliance that goes back thirty years was ripped apart amid shocking claims of sexual assault, driving a wedge through the once unbreakable unity of the Scottish National Party. With unrivalled access to both camps and the women who made the allegations, and with rigorously fair-minded reporting, journalists David Clegg and Kieran Andrews go behind the headlines to uncover the truth about this extraordinary episode, in a piece of political history that reads like a thriller. This is a jaw-dropping tale of inappropriate behaviour in the highest reaches of power, of lies, distrust and alleged conspiracy, with profound implications not only for Salmond and Sturgeon themselves but for Scotland's governing party and the wider independence campaign. At its heart, it is also a story about how women who voiced concerns about the behaviour of the most powerful man in the country were used as political pawns - and about what that means for the #MeToo movement.

Considers how people have confronted, challenged, and resisted remote warfare Drone warfare is now a routine, if not predominant, aspect of military engagement. Although this method of delivering violence at a distance has been a part of military arsenals for two decades, scholarly debate on remote warfare writ large has remained stuck in tired debates about practicality, efficacy, and ethics. Remote Warfare broadens the conversation, interrogating the cultural and political dimensions of distant warfare and examining how various stakeholders have responded to the reality of state-sponsored remote violence. The essays here represent a panoply of viewpoints, revealing overlooked histories of remoteness, novel methodologies, and new intellectual challenges. From the story arc of Homeland to redefining the idea of a "warrior," these thirteen pieces consider the new nature of surveillance, similarities between killing with drones and gaming, literature written by veterans, and much more. Timely and provocative, Remote Warfare makes significant and lasting contributions to our understanding of drones and the cultural forces that shape and sustain them. Contributors: Syed Irfan Ashraf, U of Peshawar, Pakistan; Jens Borrebye Bjering, U of Southern Denmark; Annika Brunck, U of Tubingen; David A. Buchanan, U.S. Air Force Academy; Owen Coggins, Open U; Andreas Immanuel Graae, U of Southern Denmark; Brittany Hirth, Dickinson State U; Tim Jelfs, U of Groningen; Ann-Katrine S. Nielsen, Aarhus U; Nike Nivar Ortiz, U of Southern California; Michael Richardson, U of New South Wales; Kristin Shamas, U of Oklahoma; Sajdeep Soomal; Michael Zeitlin, U of British Columbia.

Considers how people have confronted, challenged, and resisted remote warfare Drone warfare is now a routine, if not predominant, aspect of military engagement. Although this method of delivering violence at a distance has been a part of military arsenals for two decades, scholarly debate on remote warfare writ large has remained stuck in tired debates about practicality, efficacy, and ethics. Remote Warfare broadens the conversation, interrogating the cultural and political dimensions of distant warfare and examining how various stakeholders have responded to the reality of state-sponsored remote violence. The essays here represent a panoply of viewpoints, revealing overlooked histories of remoteness, novel methodologies, and new intellectual challenges. From the story arc of Homeland to redefining the idea of a "warrior," these thirteen pieces consider the new nature of surveillance, similarities between killing with drones and gaming, literature written by veterans, and much more. Timely and provocative, Remote Warfare makes significant and lasting contributions to our understanding of drones and the cultural forces that shape and sustain them. Contributors: Syed Irfan Ashraf, U of Peshawar, Pakistan; Jens Borrebye Bjering, U of Southern Denmark; Annika Brunck, U of Tubingen; David A. Buchanan, U.S. Air Force Academy; Owen Coggins, Open U; Andreas Immanuel Graae, U of Southern Denmark; Brittany Hirth, Dickinson State U; Tim Jelfs, U of Groningen; Ann-Katrine S. Nielsen, Aarhus U; Nike Nivar Ortiz, U of Southern California; Michael Richardson, U of New South Wales; Kristin Shamas, U of Oklahoma; Sajdeep Soomal; Michael Zeitlin, U of British Columbia.

In the years since the 9/11 attacks, approximately four million Americans have turned eighteen each year and more than fifty million children have been born. These members of the millennial and post-millennial generation have come of age in a moment marked by increased anxiety about terrorism, two protracted wars, and policies that have raised questions about the U.S. strategies abroad and at home. The War of My Generation offers the first essay collection to focus specifically on how the terrorist attacks and their aftermath have shaped this new generation of Americans. Drawing from a variety of disciplines, including anthropology, sociology, cultural studies, and literary studies, the essays cover a wide range of topics, from graphic war images in the classroom to computer games designed to promote military recruitment to books about parents in the combat zone. David Kieran and the contributors address millennials, intersections with contemporary questions about terrorism, U.S. militarism, and U.S. foreign policy, asserting that young people are both consumers and producers of narratives that contribute to, modify, and resist discourses about 9/11 and the War on Terror. Young people have not been shielded from the attacks or from the wars and policy debates that followed; instead, they have been active participants. One study reveals that the "lived memories" of the attack have led some to link the September 11th attacks to the Holocaust as moments in which innocent people suffered but resiliently persevered. Another contribution discusses how Muslim youth in Silicon Valley embraced the rhetoric of the Civil Rights movement as they fought against the harassment, governmental surveillance, and denial of rights that has plagued them since 9/11. Revealing how young people understand the War on Terror - and how adults understand the way young people think - The War of My Generation offers groundbreaking research on catastrophic events still fresh in our minds.

The surprising story of the Army’s efforts to combat PTSD and traumatic brain injury The wars in Iraq and Afghanistan have taken a tremendous toll on the mental health of our troops. In 2005, then-Senator Barack Obama took to the Senate floor to tell his colleagues that “many of our injured soldiers are returning from Iraq with traumatic brain injury,” which doctors were calling the “signature wound” of the Iraq War. Alarming stories of veterans taking their own lives raised a host of vital questions: Why hadn’t the military been better prepared to treat post-traumatic stress disorder (PTSD) and traumatic brain injury (TBI)? Why were troops being denied care and sent back to Iraq? Why weren’t the Army and the VA doing more to address these issues? Drawing on previously unreleased documents and oral histories, David Kieran tells the broad and nuanced story of the Army’s efforts to understand and address these issues, challenging the popular media view that the Iraq War was mismanaged by a callous military unwilling to address the human toll of the wars. The story of mental health during this war is the story of how different groups—soldiers, veterans and their families, anti-war politicians, researchers and clinicians, and military leaders—approached these issues from different perspectives and with different agendas. It is the story of how the advancement of medical knowledge moves at a different pace than the needs of an Army at war, and it is the story of how medical conditions intersect with larger political questions about militarism and foreign policy. This book shows how PTSD, TBI, and suicide became the signature wounds of the wars in Iraq and Afghanistan, how they prompted change within the Army itself, and how mental health became a factor in the debates about the impact of these conflicts on US culture.

The country's wars in Iraq and Afghanistan, its interventions around the world, and its global military presence make war, the military, and militarism defining features of contemporary American life. The armed services and the wars they fight shape all aspects of life-from the formation of racial and gendered identities to debates over environmental and immigration policy. Warfare and the military are ubiquitous in popular culture. At War offers short, accessible essays addressing the central issues in the new military history-ranging from diplomacy and the history of imperialism to the environmental issues that war raises and the ways that war shapes and is shaped by discourses of identity, to questions of who serves in the U.S. military and why and how U.S. wars have been represented in the media and in popular culture.

Martial Culture, Silver Screen analyzes war movies, one of the most popular genres in American cinema, for what they reveal about the narratives and ideologies that shape U.S. national identity. Edited by Matthew Christopher Hulbert and Matthew E. Stanley, this volume explores the extent to which the motion picture industry, particularly Hollywood, has played an outsized role in the construction and evolution of American self-definition. Moving chronologically, eleven essays highlight cinematic versions of military and cultural conflicts spanning from the American Revolution to the War on Terror. Each focuses on a selection of films about a specific war or historical period, often foregrounding recent productions that remain understudied in the critical literature on cinema, history, and cultural memory. Scrutinizing cinema through the lens of nationalism and its "invention of tradition", Martial Culture, Silver Screen considers how movies possess the power to frame ideologies, provide social coherence, betray collective neuroses and fears, construct narratives of victimhood or heroism, forge communities of remembrance, and cement tradition and convention. Hollywood war films routinely present broad, identifiable narratives such as that of the rugged pioneer or the "good war" through which filmmakers invent representations of the past, establishing narratives that advance discrete social and political functions in the present. As a result, cinematic versions of wartime conflicts condition and reinforce popular understandings of American national character as it relates to violence, individualism, democracy, militarism, capitalism, masculinity, race, class, and empire. Approaching war movies as identity-forging apparatuses and tools of social power, Martial Culture, Silver Screen lays bare how cinematic versions of warfare have helped define for audiences what it means to be American.