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Destructive sublime : World War II in American film and media / Tanine Allison.

By: Material type: TextTextSeries: Publication details: New Brunswick, New Jersey : Rutgers University Press, (c)2018.Description: 1 online resource (vii, 248 pages) : illustrations (some color)Content type:
  • text
Media type:
  • computer
Carrier type:
  • online resource
ISBN:
  • 9780813597508
  • 9780813597522
Subject(s): Genre/Form: LOC classification:
  • D743 .D478 2018
Online resources: Available additional physical forms:
Contents:
"No faking here": The new authenticity of wartime combat documentaries -- The "good war"? Style and space in 1940s combat films -- Rationalizing war: Reconstructions of World War II during the Cold War and Vietnam -- Nostalgia for combat: World War II at the end of cinema -- Simulating war on an algorithmic playground -- Conclusion: A bad war? The World War II combat genre now.
Subject: "The American popular imagination has long portrayed World War II as the 'good war, ' fought by the "greatest generation" for the sake of freedom and democracy. Yet, combat films and other war media complicate this conventional view by indulging in explosive displays of spectacular violence. Combat sequences, Tanine Allison argues, construct a counter-narrative of World War II by reminding viewers of the war's harsh brutality. Destructive Sublime traces a new aesthetic history of the World War II combat genre by looking back at it through the lens of contemporary video games like Call of Duty. Allison locates some of video games' glorification of violence, disruptive audiovisual style, and bodily sensation in even the most canonical and seemingly conservative films of the genre. In a series of case studies spanning more than seventy years--from wartime documentaries like The Battle of San Pietro to fictional reenactments like The Longest Day and Saving Private Ryan to combat video games like Medal of Honor--this book reveals how the genre's aesthetic forms reflect (and influence) how American culture conceives of war, nation, and representation itself"--
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Item type Current library Collection Call number URL Status Date due Barcode
Online Book (LOGIN USING YOUR MY CIU LOGIN AND PASSWORD) Online Book (LOGIN USING YOUR MY CIU LOGIN AND PASSWORD) G. Allen Fleece Library ONLINE Non-fiction D743.23 (Browse shelf(Opens below)) Link to resource Available on1038273521

"The American popular imagination has long portrayed World War II as the 'good war, ' fought by the "greatest generation" for the sake of freedom and democracy. Yet, combat films and other war media complicate this conventional view by indulging in explosive displays of spectacular violence. Combat sequences, Tanine Allison argues, construct a counter-narrative of World War II by reminding viewers of the war's harsh brutality. Destructive Sublime traces a new aesthetic history of the World War II combat genre by looking back at it through the lens of contemporary video games like Call of Duty. Allison locates some of video games' glorification of violence, disruptive audiovisual style, and bodily sensation in even the most canonical and seemingly conservative films of the genre. In a series of case studies spanning more than seventy years--from wartime documentaries like The Battle of San Pietro to fictional reenactments like The Longest Day and Saving Private Ryan to combat video games like Medal of Honor--this book reveals how the genre's aesthetic forms reflect (and influence) how American culture conceives of war, nation, and representation itself"--

Includes bibliographies and index.

Introduction: A retrospective look at the World War II combat genre -- "No faking here": The new authenticity of wartime combat documentaries -- The "good war"? Style and space in 1940s combat films -- Rationalizing war: Reconstructions of World War II during the Cold War and Vietnam -- Nostalgia for combat: World War II at the end of cinema -- Simulating war on an algorithmic playground -- Conclusion: A bad war? The World War II combat genre now.

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