As rich in history as World War II at the Movies, which commemorates in chronological order World War II major battles and pivotal events and captures the spirit of frontline heroes and strategist leaders, World War II at the Movies, Volume II, is as different in content and format. These compelling major motion picture films, blockbuster thrillers, and fascinating supplemental data elucidate and elaborate on top secret commando missions, challenges that wounded veterans faced adapting to civilian life with life-changing disabilities, and innovation, development, and advances in war weaponry technology, which led to the Allied victory over tyranny. You will find out: • whose naval career was depicted and portrayed by Cliff Robertson at the time he was a sitting president of the United States • who was the youngest World War II veteran (who enlisted in the Navy at the age of twelve) • who was the oldest World War II veteran (who died in December of 2018 at the age of 112) • which "lady" came to England's financial aid when they couldn't fund the spitfire's entry in the Schneider race (the winner of which would be awarded funds to further advance airplane design) • who invented Germany's enigma code machine

Movies about WWII have been award-winning blockbusters. World War II Movies is a summary of 100 of the greatest WWII movies ever made in reverse chronological order, from Inglourious Basterds, with its eight Academy Award nominations, to Casablanca, which won three, including Best Picture. Patton was recipient of ten Academy Award nominations and winner of eight. Saving Private Ryan was nominated for eleven Academy Awards, with five wins.

A complete film guide to all of your films and television shows that pertain to WWII. Included are every WWII film produced throughout the world. Historical and informative. Stories behind the Hollywood Canteen, USO shows, War Bond drives, those who served or were classified as 4F during the war. Many interested stories!

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.

The story of Spain during World War II has largely been viewed as the story of dictator Francisco Franco's foreign diplomacy in the aftermath of civil war. Wayne H. Bowen now goes behind the scenes of fascism to reveal less-studied dimensions of Spanish history. By examining the conflicts within the Franco regime and the daily lives of Spaniards, he has written the first book-length assessment of the regime's formative years and the struggle of its citizens to survive. Bowen argues that the emphasis of previous scholars on Spain's foreign affairs is misplaced-that even the most pro-Axis elements of Franco's regime were more concerned with domestic politics, the potential for civil unrest, and poverty than with events in Europe. Synthesizing a wide range of Spanish-language scholarship and recently declassified government documents, Bowen reveals how Franco's government stumbled in the face of world war, inexperienced leaders, contradictory political ideology, and a divided populace. His book tells the dramatic story of a six-year argument among the general, the politicians, and the clerics on nothing less than what should be the nature of the new Spain, touching on issues as diverse as whether the monarchy should be restored and how women should dress. Examining the effects of World War II years on key facets of Spanish life-Catholicism, the economy, women, leisure, culture, opposition to Franco, and domestic politics-Bowen explores a wide range of topics: the grinding poverty following the civil war, exacerbated by poor economic decisions; restrictions on employment for women versus the relative autonomy enjoyed by female members of the Falange; the efforts of the Church to recover from near decimation; and methods of repression practiced by the regime against leftists, separatists, and Freemasons. He also shows that the lives of most Spaniards remained apolitical and centered on work, family, and leisure marked by the popularity of American movies and the resurgence of loyalty to regional sports teams. Unlike other studies that have focused exclusively on Spain's foreign affairs during the Second World War, Bowen's work stresses the importance of the home front not only in keeping Spain out of the war but also in keeping Franco in power. He shows that in spite of internal problems and external distractions, Franco's government managed to achieve its goals of state survival and internal peace. As the only single-volume survey of this era available in English, Spain during World War II is a masterful synthesis that offers a much-needed alternative view of the Franco regime during crucial times as it provides a testament to the Spanish people's will to survive.

Shows in illuminating detail how the Allied and Axis forces used visual images and other propaganda material to sway public opinion during World War II. Author David Welch provides a neatly organized primary resource that focuses on key themes associated with World War II propaganda. Readers will not only be engrossed with a wide range of propaganda artifacts, they will also receive a better and more nuanced understanding of the nature of this propaganda and how it was disseminated in different cultural and political contexts. This book reveals how leaders and spin doctors operating at behest of the state sought to shape popular attitudes both at home and overseas. A comprehensive introductory essay sets out the principles of propaganda theory in World War II, while the subsequent material provides examples of Allied- and Axis-generated propaganda and presents them in a readily accessible way that will help readers understand the context.

The American World War II film depicted a united America, a mythic America in which the average guy, the girl next door, the 4-F patriot, and the grieving mother were suddenly transformed into heroes and heroines, warriors and goddesses. The Star-Spangled Screen examines the historical accuracy—or lack thereof—of films about the Third Reich, the Resistance, and major military campaigns. Concerned primarily with the films of the war years, it also includes discussions of such postwar movies as Battleground (1949), Attack! (1956), The Bridge on the River Kwai (1957), and Patton (1970). This revised edition includes a new afterword that covers more recent films, such as Sophie's Choice (1982), Biloxi Blues (1986), and Schindler's List (1993). The Star-Spangled Screen makes a major contribution to popular culture by recreating an era that, for all its tragedy, was one of the most creative in the history of American film.

Performing Difference is a compilation of seventeen essays from some of the leading scholars in history, criticism, film, and theater studies. Each author examines the portrayal of groups and individuals that have been traditionally marginalized or excluded from dominant historical narratives. As a meeting point of several fields of study, this book is organized around three meta-themes: race, gender, and genocide. Included are analyses of films and theatrical productions from the United States, as well as essays on cinema from Southern and Central America, Europe, and the Middle East. Topically, the contributing authors write about the depiction of race, ethnicities, gender and sexual orientation, and genocides. This volume assesses how the performing arts have aided in the social construction of the 'other' in differing contexts. Its fundamental premise is that performance is powerful, and its unifying thesis is that the arts remain a major forum for advancing a more nuanced and humane vision of social outcasts, not only in the realm of national imaginations, but in social relations as well.

World War II has been an endlessly fertile film subject since the late 1930s-even before the United States entered combat. This sweeping study of Hollywood's depictions of the war, and of the motion picture industry during wartime, describes more than 450 films in roughly chronological order, while providing a historical perspective on the times and the events depicted. Included are such pictures as Casablanca, The Battle of Midway, Der Fuhrer's Face and Letters from Iwo Jima.

A Companion to the War Film contains 27 original essays that examine all aspects of the genre, from the traditional war film, to the new global nature of conflicts, and the diverse formats that war stories assume in today’s digital culture. Includes new works from experienced and emerging scholars that expand the scope of the genre by applying fresh theoretical approaches and archival resources to the study of the war film Moves beyond the limited confines of “the combat film” to cover home-front films, international and foreign language films, and a range of conflicts and time periods Addresses complex questions of gender, race, forced internment, international terrorism, and war protest in films such as Full Metal Jacket, Good Kill, Grace is Gone, Gran Torino, The Messenger, Snow Falling on Cedars, So Proudly We Hail, Tae Guk Gi: The Brotherhood of War, Tender Comrade, and Zero Dark Thirty Provides a nuanced vision of war film that brings the genre firmly into the 21st Century and points the way for exciting future scholarship