000			03438cam a2200421 i 4500
001			on1038273521
003			OCoLC
005			20240726105048.0
008			180601s2018 njua ob s001 0 eng d
040			_aNT _beng _erda _epn _cNT _dP@U _dYDX _dEBLCP _dOCLCF _dJSTOR _dINT _dOCLCQ _dOCLCO _dUBY _dMERUC _dLVT _dOCLCQ _dCNO _dAU@ _dUAB _dOCL _dDEGRU _dOCLCQ _dK6U _dOCL _dUX1 _dOCLCQ _dOCLCO _dS2H _dOCLCO _dOCLCQ _dOCLCO _dUKAHL _dOCLCQ _dOCLCA
020			_a9780813597508 _q((electronic)l(electronic)ctronic)
020			_a9780813597522 _q((electronic)l(electronic)ctronic)
043			_an-us---
050	0	4	_aD743 _b.D478 2018
049			_aMAIN
100	1		_aAllison, Tanine, _d1979- _e1
245	1	0	_aDestructive sublime : _bWorld War II in American film and media / _cTanine Allison.
260			_aNew Brunswick, New Jersey : _bRutgers University Press, _c(c)2018.
300			_a1 online resource (vii, 248 pages) : _billustrations (some color)
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_adata file _2rda
490	1		_aWar culture
520	0		_a"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"-- _cProvided by publisher
504			_a2
505	0	0	_aIntroduction: A retrospective look at the World War II combat genre -- _t"No faking here": The new authenticity of wartime combat documentaries -- _tThe "good war"? Style and space in 1940s combat films -- _tRationalizing war: Reconstructions of World War II during the Cold War and Vietnam -- _tNostalgia for combat: World War II at the end of cinema -- _tSimulating war on an algorithmic playground -- _tConclusion: A bad war? The World War II combat genre now.
530			_a2 _ub
650		0	_aWorld War, 1939-1945 _xMotion pictures and the war.
650		0	_aWorld War, 1939-1945 _xMass media and the war.
650		0	_aWar films _zUnited States _xHistory and criticism.
650		0	_aWar video games.
655		1	_aElectronic Books.
856	4	0	_uhttps://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=1612114&site=eds-live&custid=s3260518 _zClick to access digital title | log in using your CIU ID number and my.ciu.edu password
942			_cOB _D _eEB _hD. _m2018 _QOL _R _x _8NFIC _2LOC
994			_a92 _bNT
999			_c87743 _d87743
902			_a1 _bCynthia Snell _c1 _dCynthia Snell