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The Great War played an instrumental role in the development of cinema, so necessary was it to the mobilization efforts of the combatant nations. In turn, after the war, as memory began to fade, cinema continued to shape the war's legacy and eventually to determine the ways in which all warfare is imagined.
The First World War and Popular Cinema provides fresh insights into the role of film as an historical and cultural tool. Through a comparative approach, essays by contributors from Europe, Australia, Canada, and the United States enrich our understanding of cinematic depictions of the Great War in particular and combat in general. New historical research on both the uses of propaganda and the development of national cinemas make this collection one of the first to show the ways in which film history can contribute to our study of national histories. The contributors to the volume monitor popular perceptions of the war, the reshaping of the war's legacy, and the evolution of cinematic cliches that are perpetuated in filmmaking through the century. Some of the films they discuss are "All Quiet on the Western Front", "Gallipoli", "The Grand Illusion", "The Big Parade", "Battle of the Somme", "J'Accuse", "Regeneration", and many more. The First World War and Popular Cinema is a vital addition to film studies and history, two fields only recently united in a productive way.
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Jeremiah Hodges
reviewed The First World War And Popular Cinema on June 16, 2013
The First World War And Popular Cinema
Alain Silver's The Samurai Film (1977 revised in 2006) has a lot of insight into the genre. It seems that Silver has written several books on film including many on film noir. Part One begins with The Introduction which discusses samurai in a historical context and is followed by Chapter One: "The Samurai in Fiction." He then devotes a whole chapter to Akira Kurosawa (rightly so in my opinion). Chapter Three is called "Genre Types" and is devoted to Daisuke Ito's film The Ambitious(which I have yet to see) as well as two classics directed by Masaki Kobayaski:Hara-Kiri and Rebellion. Chapter Four, "The Alien Hero," has three sections of which the first two, "The Blind Swordfighters: Zato Ichi and the Crimson Bat" and "Kyoshiro Nemuri, 'Son of the Black Mass,'" are new to me. However, I have seen the third section focusing on the film trilogy of "Miyamoto Musashi." Silver venerates director Hideo Gosha enough to give him his own chapter as well. Chapter Six, "The Slayers" looks at directors Kihachi Okamoto and Masahiro Shinoda and "The Red Slayers." Chapter Seven "The Evolution of the Genre" has three sections: "Violence, East and West: The Last Samurai," "Style and Political Statement," and "The Samurai at the Millennium." Part Two is comprised of: filmography, video distributors, VHS/DVD rental outlets, bibliography, glossary, notes, and index. There is a lot of good information here and some interesting discussions of the genre and films. If there's one drawback, it would be the lengthy plot summaries that are sometimes difficult to follow. Silver is more compelling when making observations about directors he admires like Gosha-which inspires me to seek out more of his films since I have only seen Sword of the Beast, which I quite enjoyed.
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