Movies in Wartime

Farber, Manny
January 1944
New Republic;1/3/44, Vol. 110 Issue 1, p16
Focuses on the movies made during the World war II in the U.S. Problem faced by American movie producers from the moment the country entered the war, which pushed the reluctant industry into declarations as to the nature of the times was to make dear to movie audiences as much the problems of fascism and democracy and the struggle between them as can be handled by movies; Claim that movie battlefield has been without exception a neat, heroic and orderly corner of what real battlefield must be like; Claim that the war movie today is appreciably less mawkish, melodramatic and naive than the films that were, made in the First World War; Information that the Nazis in movies have been either all black or all white, and in either case unsubstantiated.


Related Articles

  • TURNING POINTS IN ITALIAN CINEMA. Law, Shirley // Screen Education;2005, Issue 40, p22 

    The article focuses on the turning points in Italian Cinema from national to post-national in the post-war era. Immediately following the second world war and during the subsequent period of social and economic reconstruction, Italian film was linked intimately with the refashioning of the...

  • Symbols of nation? Women and the European war film. Galpin, Shelley Anne // Studies in European Cinema;2014, Vol. 11 Issue 1, p40 

    This article questions the traditional perception of the ‘war film’ as essentially concerned with masculinity, and notes that in recent years there have been a large number of films released which explore the experiences and legacy of war through female protagonists. Focussing on...

  • Downright neighborly. Levy, Sasha // Hollywood Reporter -- International Edition;10/28/2003, Vol. 381 Issue 2, p14 

    The Mediterranean port of Haifa, Israel is probably best known to movie audiences as the destination of the desperate World War II refugees on board the eponymous biblical event Exodus in director Otto Preminger's 1960 film. Nowadays, Haifa is known as the headquarters of the Bahai faith where...

  • Celluloid Vietnam. Tuchman, Mitch // New Republic;5/31/75, Vol. 172 Issue 22, p28 

    Focuses on various aspects of the Vietnam films after the World War II. Information related to the conversion of Indochina into Vietnam; Impact of the war in Vietnam on the filmmakers of the U.S.; Support for the U.S., government's position by two documentary films; Problem faced by studios with...

  • THE "AVERAGE HOUSEWIFE" IN POST-WORLD WAR II ITALY. Tasca, Luisa // Journal of Women's History;Summer2004, Vol. 16 Issue 2, p92 

    This article examines the figure of the housewife and domestic work in post-World War II Italy. Fascism promoted two images of the house- wife: the middle-class, urban homemaker inspired by American conceptions of "home economics," and the "rural farmwife" destined to prevail during the...

  • Narratives of Resistance: Verhoeven's Soldier of Orange. Telotte, J. P. // Film Criticism;Spring2006, Vol. 30 Issue 3, p3 

    The article presents information on the film entitled, Soldier of Orange, directed by Paul Verhoeven. The film is about the German invasion and occupation of his Dutch homeland during World War II, and especially its historical account of the resistance to those events, is a case in point. The...

  • BAFTA lauds Eastwood with Kubrick award. Kit, Borys // Hollywood Reporter -- International Edition;7/11/2006, Vol. 395 Issue 9, p3 

    The article reports that motion picture industry icon Clint Eastwood has been awarded the Stanley Kubrick Britannia Award for Excellence in Film. The award is given by the British Academy of Film and Television Arts/Los Angeles (BAFTA/LA). Currently, Eastwood is producing and directing the film...

  • The Doubled Image: Montgomery Tully's Boys in Brown and the Independent Frame Process. Dixon, Wheeler Winston // Film Criticism;Fall91/Winter92, Vol. 16 Issue 1/2, p18 

    The article focuses on the impact of World War II in the motion picture industry in Great Britain. After the second world war, the British film production company, the Rank Organization, strove to get assembly line film production back on track. However, the company's primary problem was also a...

  • Allies of the New Europe. Perceptions of Finnish Fascism on Slovakia, Croatia and Estonia, 1941-1944. HEIKKILÄ, Pauli // Valahian Journal of Historical Studies;2010, Vol. 14, p105 

    This article deals with international relations of Finnish Fascism in 1941-1944. It reveals contradictions in their concept of Europe as it focuses on images of other German allies/co-belligerents, namely Croatia, Slovakia and Estonia. As the reports and articles concerning these countries had...


Read the Article


Sorry, but this item is not currently available from your library.

Try another library?
Sign out of this library

Other Topics