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Literatur Und Quellenangaben Literatur und Quellenangaben Literatur Adair, Gilbert 1989: Hollywood’s Vietnam: From the Green Berets to Full Metal Jacket. Lon- don: Heinemann. Adams, Michael C. C. 1994: The Best War Ever. America and WWII. Maryland: John Hopkins University Press. Affron, Charles 1982: Reading the Fiction of Nonfiction: William Wylers Memphis Belle. In: Quaterly Review of Film Studies 7/1982, S. 53-60. Albrecht, Gerd 1969: Nationalsozialistische Filmpolitik. Eine soziologische Untersuchung über die Spielfilme des Dritten Reiches. Stuttgart: Ferdinand Enke. Aldana Reyes, Xavier 2013: Violence and Mediation: The Ethics of Spectatorship in the Twenty-First Century Horror Film. In: Matthews, Graham; Goodman, Sam (Hrsg.): Violence and the Limits of Representation. London, New York: Palgrave Macmillan. Alexandre, Marianne; Sinclair, Andrew 1968: La Grande Illusion. London: St James. Alison, Landsberg 2004: Prosthetic Memory: The Transformation of American Remembrance in the Age of Mass Culture. New York, Chichester: Columbia University Press. Alter, Jonathan 2003: In Bed with the Pentagon. In: News Week 10.3.2003, S. 45. Altman, Rick 1995: A Semantic/Syntactic Approach to Film Genre. In: Grant, Barry Keith (Hrsg.): Film Genre Reader II. Austin: University of Texas Press, S.26-40. Aly, Götz 2005: Hitlers Volkstaat. Raub, Rassenkrieg und nationaler Sozialismus. Frankfurt am Main: Fischer. Andén-Papadopoulos, Kari 2009a: Body horror on the internet: U.S. soldiers recording the war in Iraq and Afghanistan. In: Media, Culture and Society, Vol. 31 (6), S. 921-938. Andén-Papadopoulos, Kari 2009b: US soldiers imaging the Iraq War on YouTube. In: Popular Communication, Vol. 7, Issue 1, S. 17-27. Anderegg, Michael 1991a: Introduction. In: Anderegg, Michael (Hrsg.): Inventing Vietnam: The War in Film and Television. Philadelphia: Temple University Press, S. 1-14. Anderegg, Michael 1991b: Hollywood and Vietnam: John Wayne and Jane Fonda as Dis- course. In: Anderegg, Michael (Hrsg.): Inventing Vietnam: The War in Film and Television. Philadelphia: Temple University Press, S. 15-32. Arlen, Michael J. 1997: Living-room war. New York: Viking Press. Arnold, Jeremy 2003: Annotated Chronological Filmography: 1981-2003. In: Basinger, Janine (Hrsg.): The World War II Combat Film Anatomy of a Genre. Middletown: Wesleyan Univer- sity Press, S. 325-341. © Springer Fachmedien Wiesbaden GmbH, ein Teil von Springer Nature 2019 S. Packham, Der aktuelle Kriegsfilm im historischen und medialen Kontext, https://doi.org/10.1007/978-3-658-24178-0 312 Literatur und Quellenangaben Artz, Lee 2004: War as Promotional „Photo Op“: The New York Times’ Visual Coverage of the U.S. Invasion of Iraq. In: Kamalipour, Yahya R.; Snow, Nancy (Hrsg.): War, Media and Propaganda: A Global Perspective. Maryland: Rowman & Littlefield, S. 79-91. Astley, Mark 2010: Meatspace: the body as spectacle and cultural artefact in contemporary actuality body horror and death media. Manchester: University of Manchester. Aston, James; Walliss, John 2013: „I’ve never murdered anyone in my life. The decisions are up to them.”: Ethical Guidance and the Turn Toward Cultural Pessimism. In: Aston, James; Walliss, John (Hrsg.): To see the Saw movies: essays on torture porn and post 9-11 horror. Jefferson: McFarland, S. 13-29. Atkins, Thomas R. 1976: Frederick Wiseman. New York: Monarch Press. Aufderheide, Patricia 1990: Vietnam: Good Soldiers. In: Crispin Miller, Mark (Hrsg.): Seeing through Movies. New York: Pantheon, S. 81-111. Aufderheide, Patricia 2004: Big Media and Little Media The journalistic informal sector during the invasion of Iraq. In: Allan, Stuart; Zelizer, Barbie (Hrsg.): Reporting War Journalism in Wartime. London, New York: Routlegde. Aufderheide, Patricia 2007a: Documentary Film: A Very Short Introduction. Oxford, New York: Oxford University Press. Aufderheide, Patricia 2007b: Your country, my country: How films about the Iraq war con- struct publics. In: Framework, Vol. 48., No. 2, S. 56-65. Aufderheide, Patricia 2008: Iraq in Fragments. In: Visual Anthropology 21, S. 92-93. Augstein, Jakob 2005: Warten, Schwitzen, niemals kämpfen. In Sam Mendes’ skandalösem Antikriegsfilm „Jarhead“ kommen die Scharfschützen nicht zum Schuss. In: Die Zeit Nr. 52 vom 21.12.2005, S. 8. Auster, Albert 2006: Saving Private Ryan and American Triumphalism. In: Eberwein, Robert (Hrsg.): The War Film. New Brunswick, New Jersey, London: Rutgers University Press, S. 205-213. Auster, Albert 2006: Saving Private Ryan and American Triumphalism. In: Eberwein, Robert (Hrsg.): The War Film. New Brunswick, New Jersey, London: Rutgers University Press, S. 205-213. Auster, Albert; Quart, Leonard 1988: How the War Was Remembered: Hollywood and Vi- etnam. New York: Praeger. Badsey, Stephen 1983: The Battle of the Somme. British War Propaganda. In: Historical Jour- nal of Film, Radio and Television, No. 3/1983, S. 99-113. Baier, Eberhard 1984: Der Kriegsfilm. Eine Dokumentation. Aachen: Bundesgemeinschaft e.V. für Jungendfilmarbeit und Medienerziehung. Bailey, George 1976: Television War: Trends in Network Coverage of Vietnam 1965-1970. In: Journal of Broadcasting 20 (1976/2), S. 147-158. Baird, Robert 1997: Hell’s Angels above The Western Front. In: Peter C. Rollins; John E. O´Connor (Hrsg.): Hollywood’s World War I Motion Picture Images. Bowling Green: State University Popular Press, S. 79-100. Baker, Maxine 2013: Documentary in the Digital Age. Burlington, Abington: Focal Press. Literatur 313 Bandmann, Christa; Hembus, Joe 1980: Westfront 1918. In: Bandmann, Christa; Hembus, Joe (Hrsg.): Klassiker des deutschen Tonfilms. München: Goldmann, S. 19 – 21. Barbusse, Henri 1917: Under Fire The Story of a Squad. New York: E.P. Dutton&Co. Barker, Martin 2011: A Toxic Genre. London: Pluto. Barkhausen, Hans 1982: Filmpropaganda für Deutschland im Ersten und Zweiten Weltkrieg. Hildesheim, Zürich, New York: Olms. Barsam, Richard M. 1992: Non-fiction Film A Critical History. Bloomington: Indiana Univer- sity Press. Basinger, Jeanine 2003: The World War II Combat Film: Anatomy of a Genre. Middletown: Wesleyan University Press. Baudrillard, Jean 1988: America. London: Verso. Baudrillard, Jean 1995: The Gulf War Did Not Take Place. Bloomington: Indiana University Press. Baudrillard, Jean 2006: The Gulf War Did Not Take Place. In: Slocum, David J. (Hrsg.): Hol- lywood and War, the Film Reader. New York, London: Routledge, S. 303-314. Baudrillard, Jean 2011: Der Geist des Terrorismus. Herausforderung des Systems durch die symbolische Gabe des Todes. Wien: Passagen. Baumeister, Martin 2003: Der Erste Weltkrieg und die Weimarer Republik. In: Chiari, Bern- hard; Rogg, Matthias; Schmidt, Wolfgang (Hrsg.): Krieg und Militär im Film des 20. Jahrhun- derts. München: Oldenburg, S. 239-243. Baumgart, Lars 2004: Schlachtengetümmel zwischen Authentizität und Ästhetizismus. Die Darstellung des Kampfes im gegenwärtigen Kriegsfilm. In: Petersen, Christer; Jaeger, Stephan (Hrsg.): Zeichen des Krieges in Film, Literatur und den Medien. Band I. Nordamerika und Europa. Kiel: Verlag Ludwig, S. 132-169. Becker, Thomas 1994: Literarischer Protest und heimliche Affirmation. Das ästhetische Di- lemma des Weimarer Antikriegsromans. Butzbach, Griedel: Afra. Behrenbeck, Sabine 1996: Der Kult um die toten Helden. Nationalsozialistische Mythen, Riten und Symbole 1923 bis 1945. Vierow bei Greifswald: SH-Verlag. Beidler, Philip D. 1998: The Good War’s Greatest Hits: World War II and American Remem- bering. Athens: University of Georgia Press. Beller, Hans 1991: Gegen den Krieg: Im Westen Nichts Neues (1929). In: Werner Faulstich; Korte, Helmut (Hrsg.): Fischer Filmgeschichte. Band 2 Der Film als gesellschaftliche Kraft (1925–1944). Frankfurt am Main: Fischer, S. 110 – 129. Bender, Stuart 2013: Film Style and the World War II Combat Genre. Newcastle upon Tyne: Cambridge Scholars Publishing. Benjamin, Walter 1979: One-way street and other writings. London: Verso. Benjamin, Walter 1989: Gesammelte Schriften. Frankfurt am Main: Suhrkamp. Benjamin, Walter 1999: Theories of German Fascism. In: Jennings, Michael W.; Eiland, How- ard; Smith, Gary (Hrsg.): Walter Benjamin: Selected Writings, Volume 2: Part 1. Cambridge: Harvard University Press, S. 312-322. 314 Literatur und Quellenangaben Benson-Allott, Caetlin 2009: Standard Operating Procedure: Mediating Torture. In: Film Qua- terly No. 62, S. 39-44. Berg, Rick 2000: Losing Vietnam: Covering the War in an Age of Technology. In: Dittmar, Linda; Michaud, Gene (Hrsg.): From Hanoi to Hollywood. The Vietnam War in American Film. New Brunswick, London: Rutgers University Press, S. 41-68. Bessel, Richard 1996: Die Heimkehr der Soldaten. In: Hirschfeld, Gerhard; Krumeich, Gerd (Hrsg.): „Keiner fühlt sich hier mehr als Mensch...“ Erlebnis und Wirkung des Ersten Welt- kriegs. S. 260-282. Betsalel, Ken; Gibney, Mark 2008: Can a film end a war? In: Human Rights Quaterly, Vol. 30, Nr 2./May, S. 522-525. Black, Gregory D.; Koppes, Clayton R. 1977: What to Show the World: The Office of War Information and Hollywood 1942-1945. In: The Journal of American History 64.1, S. 87-105. Bliß, Klaus-Dieter; Güttler, Ralf; Künnecke, Barbara J.; Merkle, Roland 1992: Luftmacht im Golfkonflikt. In: Zehrer, Harmut (Hrsg.): Der Golfkonflikt. Dokumentation, Analyse und Be- wertung aus militärischer Sicht. Bonn, Herford: E.S. Mittler&Sohn, S. 125-183. Boggs, Carl; Pollard, Tom 2007: The Hollywood War Machine: US Militarism and Popular Culture. Boulder, CO: Paradigm. Booth, Wayne C. 1961: Rhetoric of Fiction. Chicago: Chicago University Press. Bordwell, David
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