This book undertakes a unique, coherent and comprehensive consideration of the depiction of naval warfare in the cinema. The films under discussion encompass all areas of naval operations in war, and highlight varying institutional and aesthetic responses to navies and the sea in popular culture. The examination of these films centres on their similarities to and differences from the conventions of the war genre and seeks to determine whether the distinctive characteristics of naval film narratives justify their categorisation as a separate genre or sub-genre in popular cinema.

Interpreting Naval History at Museums and Historic Sites demonstrates the broad appeal of naval themed commemoration, centering on military aspects from both times of war and peace. Transcending place and time, naval history is shaped into public forums for modern day consumption. These occurrences are not limited to just recent history, as can be seen in the celebration of man’s long history of transforming bodies of water from barriers into opportunities. In addition, with the modern day nation-state naval history is not just limited to areas near large bodies of water, as seen with landlocked states in the United States sharing in a proud naval tradition. Examples of this included in the book are USS Arizona, BB-39, and USS Missouri, BB-63.) Naval history is just one avenue, with sites marking the history of immigration, engineering technology, and architecture.. Naval history also extends into lighthouses and port facility construction which are the background of a host of U.S. Generals in the U.S. Army with the Army Corps of Engineers, which includes the Robert E. Lee. Using an international approach, the book illustrates the intersection of the historical understanding of one’s place and naval traditions. Locating the boundaries, one finds both the depth and breath of the topics linking (and dividing) water and man.

The cinema was the most popular form of entertainment during the Second World War. Film was a critically important medium for influencing opinion. Films, such as In Which We Serve and One of Our Aircraft is Missing, shaped the British people's perceptions of the conflict. British War Films, 1939-1945 is an account of the feature films produced during the war, rather than government documentaries and official propaganda, making the book an important index of British morale and values at a time of desperate national crisis.

The cinema was the most popular form of entertainment during the Second World War. Film was a critically important medium for influencing opinion. Films, such as In Which We Serve and One of Our Aircraft is Missing, shaped the British people's perceptions of the conflict. British War Films, 1939-45 is an account of the feature films produced during the war, rather than government documentaries and official propaganda, making the book an important index of British morale and values at a time of desperate national crisis.

Specifically structured around research questions and avenues for further study, and providing the historical context to enable this further research, Modern Naval History is a key historiographical guide for students wishing to gain a deeper understanding of naval history and its contemporary relevance. Navies play an important role in the modern world, and the globalisation of economies, cultures and societies has placed a premium on maritime communications. Modern Naval History demonstrates the importance of naval history today, showing its relevance to a number of disciplines and its role in understanding how navies relate to their host societies. Richard Harding explains why naval history is still important, despite slipping from the attention of policy makers and the public since 1945, and how it can illuminate answers to questions relating to economic, diplomatic, political, social and cultural history. The book explores how naval history has informed these fields and how it can produce a richer and more informed historical understanding of navies and sea power.

During the first two years of World War I, Germany struggled to overcome a crippling British blockade of its mercantile shipping lanes. With only sixteen dreadnought-class battleships compared to the renowned British Royal Navy's twenty-eight, the German High Seas Fleet stood little chance of winning a direct fight. The Germans staged raids in the North Sea and bombarded English coasts in an attempt to lure small British squadrons into open water where they could be destroyed by submarines and surface boats. After months of skirmishes, conflict erupted on May 31, 1916, in the North Sea near Jutland, Denmark, in what would become the most formidable battle in the history of the Royal Navy. In Jutland, international scholars reassess the strategies and tactics employed by the combatants as well as the political and military consequences of their actions. Most previous English-language military analysis has focused on British admiral Sir John Jellicoe, who was widely criticized for excessive caution and for allowing German vice admiral Reinhard Scheer to escape; but the contributors to this volume engage the German perspective, evaluating Scheer's decisions and his skill in preserving his fleet and escaping Britain's superior force. Together, the contributors lucidly demonstrate how both sides suffered from leadership that failed to move beyond outdated strategies of limited war between navies and to embrace the total war approach that came to dominate the twentieth century. The contributors also examine the role of memory, comparing the way the battle has been portrayed in England and Germany. An authoritative collection of scholarship, Jutland serves as an essential reappraisal of this seminal event in twentieth-century naval history.

In Britain since the 1960s television has been the most influential medium of popular culture. Television is also the site where the Western Front of popular culture clashes with the Western Front of history.This book examines the ways in which those involved in the production of historical documentaries for this most influential media have struggled to communicate the stories of the First World War to British audiences. Documents in the BBC Written Archives Centre at Caversham, Berkshire, the Imperial War Museum, and the Liddell Hart Centre for Military Archives all inform the analysis. Interviews and correspondence with television producers, scriptwriters and production crew, as well as two First World War veterans who appeared in several recent documentaries provide new insights for the reader.Emma Hanna takes the reader behind the scenes of the making of the most influential documentaries from the landmark epic series The Great War (BBC, 1964) up to more recent controversial productions such as The Trench (BBC, 2002) and Not Forgotten: The Men Who Wouldn't Fight (BBC, 2008). By examining the production, broadcast and reception of a number of British television documentaries this book examines the difficult relationship between the war's history and its popular memory.

Brill’s Companion to Ancient Greek and Roman Warfare on Film is the first volume exclusively dedicated to the study of a theme that informs virtually every reimagining of the classical world on the big screen: armed conflict. Through a vast array of case studies, from the silent era to recent years, the collection traces cinema’s enduring fascination with battles and violence in antiquity and explores the reasons, both synchronic and diachronic, for the central place that war occupies in celluloid Greece and Rome. Situating films in their artistic, economic, and sociopolitical context, the essays cast light on the industrial mechanisms through which the ancient battlefield is refashioned in cinema and investigate why the medium adopts a revisionist approach to textual and visual sources.

Americans at War in the Ottoman Empire examines the role of mercenary figures in negotiating relations between the United States and the Ottoman Empire in the nineteenth century. Mercenaries are often treated as historical footnotes, yet their encounters with the Ottoman world contributed to US culture and the impressions they left behind continue to influence US approaches to Africa and the Middle East. The book's analysis of these mercenary encounters and their legacies begins with the Battle of Derna in 1805-in which the US flag was raised above a battlefield for the first time outside of North America with the help of a mercenary army-and concludes with the British occupation of Egypt in 1882-which was witnessed and criticized by many of the US Civil War veterans who worked for the Egyptian government in the 1870s and 1880s. By focusing these mercenary encounters through the lenses of memory, sovereignty, literature, geography, and diplomacy, Americans at War in the Ottoman Empire reveals the ways in which mercenary force, while marginal in terms of its frequency and scope, produced important knowledge about the Ottoman world and helped to establish the complicated relationship of intimacy and mastery that exists between Americans in the United States and people in Libya, Egypt, Sudan, Uganda, South Sudan, and Turkey.

Australian Genre Film interrogates key genres at the core of Australia’s so-called new golden age of genre cinema, establishing the foundation on which more sustained research on film genre in Australian cinema can develop. The book examines what characterises Australian cinema and its output in this new golden age, as contributors ask to what extent Australian genre film draws on widely understood (and largely Hollywood-based) conventions, as compared to culturally specific conventions of genre storytelling. As such, this book offers a comprehensive and up-to-date survey of Australian genre film, undertaken through original analyses of 13 significant Australian genres: action, biopics, comedy, crime, horror, musical, road movie, romance, science fiction, teen, thriller, war, and the Western. This book will be a cornerstone work for the burgeoning field of Australian film genre studies and a must-read for academics; researchers; undergraduate students; postgraduate students; and general readers interested in film studies, media studies, cultural studies, Australian studies, and sociology.