Audiovisual Records in the National Archives Relating to World War II
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Download the List of History Films and Videos (PDF)
Video List in Alphabetical Order Department of History # Title of Video Description Producer/Dir Year 532 1984 Who controls the past controls the future Istanb ul Int. 1984 Film 540 12 Years a Slave In 1841, Northup an accomplished, free citizen of New Dolby 2013 York, is kidnapped and sold into slavery. Stripped of his identity and deprived of dignity, Northup is ultimately purchased by ruthless plantation owner Edwin Epps and must find the strength to survive. Approx. 134 mins., color. 460 4 Months, 3 Weeks and Two college roommates have 24 hours to make the IFC Films 2 Days 235 500 Nations Story of America’s original inhabitants; filmed at actual TIG 2004 locations from jungles of Central American to the Productions Canadian Artic. Color; 372 mins. 166 Abraham Lincoln (2 This intimate portrait of Lincoln, using authentic stills of Simitar 1994 tapes) the time, will help in understanding the complexities of our Entertainment 16th President of the United States. (94 min.) 402 Abe Lincoln in Illinois “Handsome, dignified, human and moving. WB 2009 (DVD) 430 Afghan Star This timely and moving film follows the dramatic stories Zeitgest video 2009 of your young finalists—two men and two very brave women—as they hazard everything to become the nation’s favorite performer. By observing the Afghani people’s relationship to their pop culture. Afghan Star is the perfect window into a country’s tenuous, ongoing struggle for modernity. What Americans consider frivolous entertainment is downright revolutionary in this embattled part of the world. Approx. 88 min. Color with English subtitles 369 Africa 4 DVDs This epic series presents Africa through the eyes of its National 2001 Episode 1 Episode people, conveying the diversity and beauty of the land and Geographic 5 the compelling personal stories of the people who shape Episode 2 Episode its future. -
DOCUMENTARY FILMS Page 1 of 10
DOCUMENTARY FILMS Page 1 of 10 DOCUMENTARY FILMS Documentary Films, strictly speaking, are non-fictional, "slice of life" factual works of art - and sometimes known as cinema verite. For many years, as films became more narrative- based, documentaries branched out and took many forms since their early beginnings - some of which have been termed propagandistic or non-objective. Documentary films have comprised a very broad and diverse category of films. Examples of documentary forms include the following: z 'biographical' films about a living or dead person (Madonna, John Lennon, Muhammad Ali - When We Were Kings (1996), Robert Crumb, Stephen Hawking in A Brief History of Time (1992), or Glenn Gould) z a well-known event (Waco, Texas incident, the Holocaust, the Shackleton expedition to the Antarctic) z a concert or rock festival (Woodstock or Altamont rock concerts, Madonna: Truth or Dare (1991), Stop Making Sense (1984)) z a comedy show (Richard Pryor or Eddie Murphy shows) z a live performance (Cuban musicians as in Buena Vista Social Club (1998), or the stage show Cirque du Soleil-Journey of Man (2000)) z a sociological or ethnographic examination following the lives of individuals over a period of time (e.g., Michael Apted's series of films: 28 Up (1984), 35 Up (1992) and 42 Up (1999), or Steve James' Hoop Dreams (1994)) z an expose including interviews (e.g., Michael Moore's social concerns films) z a sports documentary (extreme sports, such as Extreme (1999) or To the Limit (1989), or surfing, such as in The Endless Summer (1966)) -
From Glory to Destruction: John Huston's Non-Fictional Depictions of War
RSA Journal 13 5 FEDERICO SINISCALCO From Glory to Destruction: John Huston's Non-fictional Depictions of War During the second World War John Huston became involved, together with other famous Hollywood filmmakers, in the U.S. Government propa ganda film production. This paper argues that whereas Report from the Aleutians, Huston's first war documentary, may be incorporated within the propaganda genre, and depicts war as an instance where men may aspire to glory, his second non-fiction film, San Pietro, breaks free of this label and takes a clear, autonomous stand on the ultimate tragedy of war, and on the destruction which it brings about. John Huston established his reputation as an important Hollywood personality in 1941 following his debut as a film director with the now clas sic Maltese Falcon. The following year, as the United States became more engaged in the world conflict, he joined the Signal Corps, a body ofthe U.S. Army specialized in film and photographic documentation ofwar. In his au tobiography, written several years later, Huston admitted that he did not pay much attention to the enlisting papers given to him by his friend Sy Bartlett. Therefore, when the call came from the Army to report to duty he was rather surprised (Huston 111-2). At the time Huston was a 37-year old man with a promising career in front of him. Busily working on his next film, Across the Pacific, a sequel of sorts to the successful Maltese Falcon, the prospect of direct involvement in the war must have seemed quite foreign to him. -
Download Thesis
This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Representations of the Holocaust in Soviet cinema Timoshkina, Alisa Awarding institution: King's College London The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 25. Sep. 2021 REPRESENTATIONS OF THE HOLOCAUST IN SOVIET CINEMA Alissa Timoshkina PhD in Film Studies 1 ABSTRACT The aim of my doctoral project is to study how the Holocaust has been represented in Soviet cinema from the 1930s to the collapse of the Soviet Union in 1991. -
Remembering World War Ii in the Late 1990S
REMEMBERING WORLD WAR II IN THE LATE 1990S: A CASE OF PROSTHETIC MEMORY By JONATHAN MONROE BULLINGER A dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in Communication, Information, and Library Studies Written under the direction of Dr. Susan Keith and approved by Dr. Melissa Aronczyk ________________________________________ Dr. Jack Bratich _____________________________________________ Dr. Susan Keith ______________________________________________ Dr. Yael Zerubavel ___________________________________________ New Brunswick, New Jersey January 2017 ABSTRACT OF THE DISSERTATION Remembering World War II in the Late 1990s: A Case of Prosthetic Memory JONATHAN MONROE BULLINGER Dissertation Director: Dr. Susan Keith This dissertation analyzes the late 1990s US remembrance of World War II utilizing Alison Landsberg’s (2004) concept of prosthetic memory. Building upon previous scholarship regarding World War II and memory (Beidler, 1998; Wood, 2006; Bodnar, 2010; Ramsay, 2015), this dissertation analyzes key works including Saving Private Ryan (1998), The Greatest Generation (1998), The Thin Red Line (1998), Medal of Honor (1999), Band of Brothers (2001), Call of Duty (2003), and The Pacific (2010) in order to better understand the version of World War II promulgated by Stephen E. Ambrose, Tom Brokaw, Steven Spielberg, and Tom Hanks. Arguing that this time period and its World War II representations -
Visualizing the Past: Perestroika Documentary Memory Of
VISUALIZING THE PAST: PERESTROIKA DOCUMENTARY MEMORY OF STALIN-ERA TRAUMA by Erin Rebecca Alpert B.A. in Global Studies, College of William and Mary, 2007 M.A. in Slavic Languages and Literatures, University of Pittsburgh, 2009 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2014 UNIVERSITY OF PITTSBURGH Kenneth P. Dietrich School of Arts and Sciences This dissertation was presented by Erin Alpert It was defended on May 12, 2014 and approved by Nancy Condee, Professor, University of Pittsburgh, Department of Slavic Languages and Literatures David Birnbaum, Professor, University of Pittsburgh, Department of Slavic Languages and Literatures Jeremy Hicks, Reader, Queen Mary University of London, Department of Russian Dissertation Advisor: Vladimir Padunov, Associate Professor, University of Pittsburgh, Department of Slavic Languages and Literatures ii Copyright © by Erin Alpert 2014 iii VISUALIZING THE PAST: PERESTROIKA DOCUMENTARY MEMORY OF STALIN-ERA TRAUMA Erin Alpert, PhD University of Pittsburgh, 2014 The main goal of this dissertation is to look at how, during perestroika, documentary breaks away from the traditional notions of the genre in order to reexamine and redefine traumatic events from the Stalinist period. The first chapter examines the nuances of three critical terms: “documentary,” “collective memory,” and “cultural trauma.” I then turn to a historical approach, exploring how political culture and technology affected the content, production, and screening of documentaries, first discussing the time leading up to perestroika and then the massive changes during the glasnost era. In the final chapters, I argue that there are three primary approaches the films examined in this project take to understanding the past. -
You May Come Into the Society and Use These Books for Research. If You a Member in Good Standing Then You May Sign Them out at No Cost
You may come into the Society and use these books for research. If you a member in good standing then you may sign them out at no cost. CFBCHS ref no SPINELBL TITLE AUTHOR 2005.031.021 1st Canadian Division 2005.054.005 641.563 25th Anniversary Cookbook 1958-1983 2005.044.017 629.109 3 Great Air Stories Forrester - Brickhill - Hay 2011.043.009 940.542 RYN A Bridge Too Far Ryan, Cornelius 2012.042.043 388.46 HUD A Centenary Celebration Hudson, Ray 2001.049.001 355.009 LOT A Century of Service Lotz, Jim 2009.063.350 A Collision of Cultures 2009.063.344 A Contagion of War 2008.016.003 A Corporal's War 2009.063.133 A Directory of the World's Weap 2007.018.015 A Glorious Way to Die 2004.098.057 930. BAS A History of SeafaringHistory Bass, George F. 2007.043.024 A Liberation Album 2004.075.036 940.5486 STE A Man Called Intrepid Stevenson, William 2007.015.051 940.5486 STE A Man Called Intrepid Stevenson, William 2009.017.128 940.5486 STE A Man Called Intrepid Stevenson, William 2009.063.349 A Nation Divided 2008.059.003 940.540 GRA A Nation Forged in Fire Granatstein, J.L. 2009.063.361 940.5409 GRA A Nation Forged in Fire Granatstein, J.L. 2012.049.001 940.53 JAM A Pictorial History of the World War II Years Jablonski, Edward 2009.017.069 A Ship Must Die 2011.037.001 355.009 HIL A Soldier First Hillier, Rick 2012.022.010 355.009 HIL A Soldier First Hillier, Rick 2009.017.061 A Soldier Reports 2009.063.339 A Soldier's View 2009.012.059 A Thousand Shall Fall 2005.096.005 940.5449 TER A Time for Courage Terraine, John 2012.042.018 910.916 MOO A Time to Die Moore, Robert 2006.027.004 A Time to Remember 2010.018.003 971.242 FAR A War Bride's Story Faryon, Cynthia J. -
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. -
War on the Air: CBC-TV and Canada's Military, 1952-1992 by Mallory
War on the Air: CBC-TV and Canada’s Military, 19521992 by Mallory Schwartz Thesis submitted to the Faculty of Graduate and Postdoctoral Studies in partial fulfillment of the requirements for the Doctorate in Philosophy degree in History Department of History Faculty of Arts University of Ottawa © Mallory Schwartz, Ottawa, Canada, 2014 ii Abstract War on the Air: CBC-TV and Canada‘s Military, 19521992 Author: Mallory Schwartz Supervisor: Jeffrey A. Keshen From the earliest days of English-language Canadian Broadcasting Corporation television (CBC-TV), the military has been regularly featured on the news, public affairs, documentary, and drama programs. Little has been done to study these programs, despite calls for more research and many decades of work on the methods for the historical analysis of television. In addressing this gap, this thesis explores: how media representations of the military on CBC-TV (commemorative, history, public affairs and news programs) changed over time; what accounted for those changes; what they revealed about CBC-TV; and what they suggested about the way the military and its relationship with CBC-TV evolved. Through a material culture analysis of 245 programs/series about the Canadian military, veterans and defence issues that aired on CBC-TV over a 40-year period, beginning with its establishment in 1952, this thesis argues that the conditions surrounding each production were affected by a variety of factors, namely: (1) technology; (2) foreign broadcasters; (3) foreign sources of news; (4) the influence -
Filming the End of the Holocaust War, Culture and Society
Filming the End of the Holocaust War, Culture and Society Series Editor: Stephen McVeigh, Associate Professor, Swansea University, UK Editorial Board: Paul Preston LSE, UK Joanna Bourke Birkbeck, University of London, UK Debra Kelly University of Westminster, UK Patricia Rae Queen’s University, Ontario, Canada James J. Weingartner Southern Illimois University, USA (Emeritus) Kurt Piehler Florida State University, USA Ian Scott University of Manchester, UK War, Culture and Society is a multi- and interdisciplinary series which encourages the parallel and complementary military, historical and sociocultural investigation of 20th- and 21st-century war and conflict. Published: The British Imperial Army in the Middle East, James Kitchen (2014) The Testimonies of Indian Soldiers and the Two World Wars, Gajendra Singh (2014) South Africa’s “Border War,” Gary Baines (2014) Forthcoming: Cultural Responses to Occupation in Japan, Adam Broinowski (2015) 9/11 and the American Western, Stephen McVeigh (2015) Jewish Volunteers, the International Brigades and the Spanish Civil War, Gerben Zaagsma (2015) Military Law, the State, and Citizenship in the Modern Age, Gerard Oram (2015) The Japanese Comfort Women and Sexual Slavery During the China and Pacific Wars, Caroline Norma (2015) The Lost Cause of the Confederacy and American Civil War Memory, David J. Anderson (2015) Filming the End of the Holocaust Allied Documentaries, Nuremberg and the Liberation of the Concentration Camps John J. Michalczyk Bloomsbury Academic An Imprint of Bloomsbury Publishing Plc LONDON • OXFORD • NEW YORK • NEW DELHI • SYDNEY Bloomsbury Academic An imprint of Bloomsbury Publishing Plc 50 Bedford Square 1385 Broadway London New York WC1B 3DP NY 10018 UK USA www.bloomsbury.com BLOOMSBURY and the Diana logo are trademarks of Bloomsbury Publishing Plc First published 2014 Paperback edition fi rst published 2016 © John J. -
Between 'Information' and 'Inspiration' Frame, Gregory the Routledge
Between 'Information' and 'Inspiration' ANGOR UNIVERSITY Frame, Gregory The Routledge Companion to Cinema and Politics PRIFYSGOL BANGOR / B Published: 30/06/2016 Peer reviewed version Cyswllt i'r cyhoeddiad / Link to publication Dyfyniad o'r fersiwn a gyhoeddwyd / Citation for published version (APA): Frame, G. (2016). Between 'Information' and 'Inspiration': the Office of War Information, Frank Capra's Why We Fight series, and US World War II propaganda. In Y. Tzioumakis, & C. Molloy (Eds.), The Routledge Companion to Cinema and Politics (pp. 151-160). Hawliau Cyffredinol / General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. 25. Sep. 2021 Between “Information” and “Inspiration”: The Office of War Information, Frank Capra’s Why We Fight series and US World War II Propaganda Gregory Frame While there is little debate that the United States required propaganda films as part of its war effort in order to combat the masterful and dangerous concoctions of the Axis powers and to inspire its people for a war of unprecedented ferocity against an unrelenting and vicious enemy, how these films should be constituted, and by whom, was a matter of significant debate and disagreement. -
Iraq War Documentaries in the Online Public Sphere
Embedded Online: Iraq War Documentaries in the Online Public Sphere Eileen Culloty, MA This thesis is submitted to Dublin City University for the award of PhD in the Faculty of Humanities and Social Sciences. Dublin City University School of Communications Supervisor: Dr. Pat Brereton September 2014 I hereby certify that this material, which I now submit for assessment on the programme of study leading to the award of Doctor of Philosophy is entirely my own work, that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge breach any law of copyright, and has not been taken from the work of others save and to the extent that such work has been cited and acknowledged within the text of my work. Signed: ___________ ID No.: ___________ Date: _________ ii DEDICATION This work is dedicated to the memory of Martin Culloty. … I go back beyond the old man Mind and body broken To find the unbroken man. It is the moment before the dance begins. Your lips are enjoying themselves Whistling an air. Whatever happens or cannot happen In the time I have to spare I see you dancing father Brendan Kennelly (1990) ‘I See You Dancing Father’ iii TABLE OF CONTENTS ABSTRACT ............................................................................................................................ vii LIST OF FIGURES ................................................................................................................ viii ABBREVIATIONS ...................................................................................................................