The British War Film, 1939-980: Culture, History, and Genre
15 Sep 2015-
TL;DR: The authors argue that discussions of war representation that privilege the nationalistic, heroic, and redemptively sacrificial strand of storytelling that dominate popular memory in Britain ignore a whole counter-history of movies that view war as an occasion to critique through devices like humor, irony, and existential alienation.
Abstract: This dissertation argues that discussions of war representation that privilege the nationalistic, heroic, and redemptively sacrificial strand of storytelling that dominate popular memory in Britain ignore a whole counter-history of movies that view war as an occasion to critique through devices like humor, irony, and existential alienation. Instead of selling audiences on what Graham Dawson has called “the pleasure culture of war” (a nationally self-serving mode of talking about and profiting from war memory), many texts about war are motivated by other intellectual and ideological factors. Each chapter includes historical context and periodizing arguments about different moments in British cultural history, explores genre trends, and ends with a comparative analysis of representative examples.
Chapter One traces competing representational modes between 1939 and 1945, arguing that films about war and wartime during this period trouble the traditional binarism in British film historiography between realism and fantasy. Chapter Two looks at historical intersections of comedy and war, arguing that the embrace of irony as a argumentative position allows war comedies to engage with the idea of failure, a notion all but missing from dominant strands of war representation. Chapter Three describes a post-1956 brand of war tragedy that embraces cynicism, tonal bleakness, and the cultural vogue for existentialism as another affront to triumphalist war narratives. Chapter Four shifts from bigger conceptual categories to a specific, historically embedded interest in technology and strategy that intensifies after 1945. This chapter argues that many films turn away from war as historically grounded fact, and towards a conception of war that is overtly simulated and virtual. Chapter Five examines the representational challenge of the nuclear bomb for British cinema, arguing that beyond similarities to international trends that align these weapons with panic and horror, the specter of atomic energy encapsulates a larger geopolitical visioning of the nation’s loss of control. A Conclusion examines the reception of many of the films analyzed and acknowledges the influence and legacy of these alternative approaches to war.
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TL;DR: Borneman as discussed by the authors argued that the U.S. model of large-scale immigration, exploitation, and hope of upward mobility is simply not on the agenda in France (or anywhere else in Europe, for that matter) and that many of the problems in the schools stem from the failure to integrate the by now third-generation children of North African descent.
Abstract: M y reaction to John Borneman's thoughtprovoking and analytically acute article was one of ethnographic depaysement, of a certain confusion as to what place Borneman might be describing. Hence, as I was about to leave for Paris for a week when I received it, I thought I would test my reaction to the piece there. A week later, my sense of unfamiliarity persisted. Thinking of the Japan that Roland Barthes self-consciously depicted in his Empire of Signs (1982) as an imaginary semiotic space not to be confused with anything empirical, I admired Borneman's construction but doubted the existence of its referent. The week of May 12,2003, was a week of strikes in France; large numbers of union members protested the proposed changes in the pension system, which everyone agrees needs restructuring, and also manifested solidarity with the strong negative reaction of the teaching corps, as the French call them, to proposed school reforms that would further decentralize both administration and finances. The articulated motive driving the protests was the fear that the government was secretly introducing a form of neoliberalism. As France is indeed an advanced capitalist country, this fear was no doubt well-founded. Another key problem remained in the background, however, a problem that lies behind the issues of pension and schools: France's resolute and sustained unwillingness or inability to deal in a frontal and consistent manner with immigration. One can deploy many euphemisms for this phenomenon, but ultimately it amounts to racism; the pension system requires either higher taxes and more years of worker contribution or more immigration of young workers, who would in their majority be North African. The U.S. model of large-scale immigration, exploitation, and hope of upward mobility is simply not on the agenda in France (or anywhere else in Europe). Additionally, many of the problems in the schools stem from the failure to integrate the by now third-generation children of North African descent. Both right and left agree that France should be a secular state and that all signs of Muslim identity—most famously the head scarf—run counter to France's basic values. At its recent convention, the devastated Socialist Party stopped hedging and affirmed its undying commitment to la'iciti (secularism). This has been the right-wing position all along. Thus, one remains confused as to what Borneman is referring when he calls the career of the far right leader Jean-Marie Le Pen "stunted" (this issue). Le Pen came in second to Chirac in the last elections, ahead of the socialists. Both right and left are implementing his programs. The present government, taking another of Le Pen's favorite issues, was elected on a platform of security and has spent massive sums on the police. That money has come from research budgets that are currently being cut by as much as one-third, from large cuts in state support for the arts, from the school budgets, and from the health care system. A national commission is establishing new standards to deny health care to immigrants. One could characterize these changes as contributing to a "vision of egalitarian, cosmopolitan democracies in an economic and legal union" (this issue), but in so doing one would be involved much more in producing an imaginary semiotic space than in practicing anthropology. The core issue confronting the world, Borneman contends, is the politics of the Middle East. He contrasts the aggressive imperialism of the United States with the more internationalist stance of Europe. He mentions "the exhaustion of Europe's moral authority" (this issue) after World War II but seems to assume that Europe's moral authority has been reestablished since. There are many reasons to doubt such a claim. I recently raised this issue with Etienne Balibar, who has been writingaboutpossiblenew paths for European politics; when I asked him about what I took to be the selfevident collapse of Europe's moral authority (we had been discussing genocide in the former Yugoslavia, the ongoing massacres in Algeria, and the silence around Chechnya), he looked momentarily surprised—this was clearly a U.S. question—and then agreed with a resigned chuckle that of course such moral authority had long since collapsed, although there were political domains in which one could imagine European strategic interventions. We went on to explore these possibilities. On the plane home 1 read a moving book by Benjamin Stora, Le Gangrene et l'Oubli{\99\), about the historiography in both Algeria and France of the war of decolonization, its antecedents, and its aftermath; Stora's thesis, which he demonstrates at length, is the stunning failure on both sides of the Mediterranean to accept the core historical facts into popular (and to a lesser extent, scholarly) understandings. Stora underscores an unwillingness, an incapacity, to talk frankly about many elements of an intertwined history,
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7 citations
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23 Apr 2003
TL;DR: In this paper, the authors examine the film, its production, the role of its stars David Hemmings, Vanessa Redgrave and John Gieldgud, and director Richardson's running feud with the press and the film's subsequent fame.
Abstract: Tony Richardson's 1968 "Charge of the Light Brigade", with its star cast, lavish sets and location shoots, was one of the most expensive British films ever made. Mark Connelly examines the film, its production, the role of its stars David Hemmings, Vanessa Redgrave and John Gieldgud, and director Richardson's running feud with the press and the film's subsequent fame. He shows the film to be representative of its time, in its visual style and its use of 60s themes, to discuss how "Charge of the Light Brigade", while meticulously reconstructed from authentic sources, reveals the horror of war to a world struggling to come to terms with American involvement in Vietnam.
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20 Jun 2005
TL;DR: Agamben's "Homo Sacer: Sovereign Power and Bare Life, State of Exception" is the first book to theorize the state of exception in historical and philosophical context as mentioned in this paper.
Abstract: Two months after the attacks of 9/11, the Bush administration, in the midst of what it perceived to be a state of emergency, authorized the indefinite detention of noncitizens suspected of terrorist activities and their subsequent trials by a military commission. Here, distinguished Italian philosopher Giorgio Agamben uses such circumstances to argue that this unusual extension of power, or "state of exception," has historically been an underexamined and powerful strategy that has the potential to transform democracies into totalitarian states. The sequel to Agamben's "Homo Sacer: Sovereign Power and Bare Life, State of Exception" is the first book to theorize the state of exception in historical and philosophical context. In Agamben's view, the majority of legal scholars and policymakers in Europe as well as the United States have wrongly rejected the necessity of such a theory, claiming instead that the state of exception is a pragmatic question. Agamben argues here that the state of exception, which was meant to be a provisional measure, became in the course of the twentieth century a normal paradigm of government. Writing nothing less than the history of the state of exception in its various national contexts throughout Western Europe and the United States, Agamben uses the work of Carl Schmitt as a foil for his reflections as well as that of Derrida, Benjamin, and Arendt. In this highly topical book, Agamben ultimately arrives at original ideas about the future of democracy and casts a new light on the hidden relationship that ties law to violence.
2,918 citations
Book•
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01 Jan 1961
TL;DR: The 20th century is a stage in a long revolution which began two centuries ago, transforming men and institutions and overturning conventional ideas - political, economic, and cultural.
Abstract: This volume explains the 20th century as a stage in a long revolution which began two centuries ago, transforming men and institutions and overturning conventional ideas - political, economic and cultural. The author begins by examining creativity itself and moves on to analyze social concepts and trace the history of education, the press, the novel and drama. The book is a sequel to his book, "Culture and Society" and reinterprets the dominant values of British life and literature. Other books by Raymond Williams include "The Country and the City", "The English Novel From Dickens to Lawrence" and "Modern Tragedy".
2,064 citations
Book•
15 Sep 1985
TL;DR: The authors show that Hollywood films operate within a set of assumptions, shared by different genres, directors and studios, about how a film should look and sound and how these conventions came to standardize the whole filmmaking process itself.
Abstract: Shows that Hollywood films operate within a set of assumptions, shared by different genres, directors and studios, about how a film should look and sound. Details how these conventions came to standardize the whole filmmaking process itself.
715 citations
Book•
01 Jan 1994
TL;DR: The Scene of Irony as discussed by the authors is a collection of illustrations of the'scene' of irony and the 'politics of irony' in the context of discursive communities, where irony 'happens'.
Abstract: Table of Illustrations Introduction: The 'Scene' of Irony Acknowledgements 1. Risky Business: The 'Transideological' Politics of Irony 2. The Cutting Edge 3. Modelling Meaning: The Semantics of Irony 4. discursive Communities: How Irony 'Happens' 5. Intention and Interpretation: Irony and the Eye of the Beholder 6. Frame-ups and their marks: The Recognition or Attribution of Irony 7. The End(s) of Irony: The Politics fo Appropriateness Bibliography
524 citations
Book•
12 Dec 1994
TL;DR: In this article, the Imagining of a hero: Sir Henry Havelock, the Indian Rebellion and the News, and Commemorating the Exemplary Life of T.E. Lawrence.
Abstract: Introduction: Soldier Heroes, Masculinity and British National Identity Part I: Soldier Heroes, Adventure and the historical IMagining of Masculinities 1. Soldier Heroes and the Narrative Imagining of masculinities 2. Masculinity, Phantasy and History 3. The Adventure Quest and Its Cultural Imaginaries Part II: The hero-Making and Hagiography of havelock of Lucknow: Imperialism and Military Adventure in the Nineteeth Century 4. The Imagining of a hero: Sir Henry Havelock, the Indian Rebellion and the News 5. Commemorating the Exemplary Life: the Havelock Hagiography Part III: The Public and Private Lives of T.E. Lawrence: The Imperial Adventure in the Modern World 6. The Blond Bedouin: Lawrence of Arabia and Imperial Adventure in the Modern World 7. The Public and Private Lives of T.E. Lawrence: The Adventure hero and modernist Masculinity 8. Public Pathologies: T.E. Lawrence, Psychological Biography and the Cultural Politics of Imperial Decline Part IV: Soldier Heroes and the Imagining of Boyhood Masculinity 9. Playing at War: Boyhood Phantasies and the Pleasure-Culture of War 10. Self -Imagining: Boyhood Masculinity, Social Recognition and the Adventure Hero Afterword: Soldier heroes and Cultural Politics of Reparation Notes
520 citations