War has had a powerful impact on the film industry. But it is not only wars that affect films; films influence war-time behavior and incisively shape the way we think about the battles that have been waged. In The War Film, Robert Eberwein brings together essays by scholars using a variety of critical approaches to explore this enduringly popular film genre. Contributors examine the narrative and aesthetic elements of war films from four perspectives; consideration of generic conventions in works such as All Quiet on the Western Front, Bataan, and The Think Red Line; treatment of race in various war films, including Glory, Home of the Brave, Platoon, and Hamburger Hill; aspects of gender, masculinity and feminism in The Red Badge of Courage, Rambo, Dogfight, and Courage under Fire; and analysis of the impact of contemporary history on the production and reception of films such as The Life and Times of Rosie the Riveter, Saving Private Ryan, and We Were Soldiers. Drawing attention to the dynamic interrelationships among politics, nationalism, history, gender, and film, this comprehensive anthology is bound to become a classroom favorite.

The tangled connections that have bound Jews to African Americans in popular culture and liberal politics are at the heart of Michael Rogin's arresting and unnerving book. Looking at films from "Birth of a Nation" to "Forrest Gump", Rogin explores blackface in Hollywood films as an aperture to broader issues: the nature of "white" identity in America, the role of race in transforming immigrants into "Americans", the common experiences of Jews and African Americans that made Jews key supporters in the fight for racial equality, and the social importance of popular culture. Rogin's forcefully argued study challenges us to confront the harsh truths behind the popularity of racial masquerade.

This book makes several claims which ought to be stated at the outset: that Herman Melville is a recorder and interpreter of American society whose work is comparable to that of the great nineteenth-century European realists; that there was crisis of bourgeois society at midcentury on both continents, but that in America it entered politics by way of slavery and race rather than class; that the crisis called into question the ideal realm of liberal political freedom, and also that Melville was particularly sensitive to the American crisis because of the political importance of his clan and the political history of his family

The fear of the subversive has governed American politics, from the racial conflicts of the early republic to the Hollywood anti-Communism of Ronald Reagan. Political monsters - the Indian cannibal, the black rapist, the demon rum, the bomb-throwing anarchist, the many-tentacled Communist conspiracy, the agents of international terrorism - are familiar figures in the dream life that so often dominates American political consciousness. What are the meanings and sources of these demons? And why does the American political imagination conjure them up? Michael Rogin answers these questions by examining the American countersubversive tradition.