Titlebook: War Representation in British Cinema and Television; From Suez to Thatche Kevin M. Flanagan Book 2019 The Editor(s) (if applicable) and The

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,Comic and Satirical Alternatives to the “Pleasure Culture of War”,s genres, it compares two films written by Charles Wood, . (1968) and . (1967), and looks at how these films combine Wood’s penchant for comic irony with varied modernist techniques stressed by the directors (Tony Richardson and Richard Lester, respectively).

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Conclusion: The Legacies of 1960s and 1970s War Representation, from Thatcher to Brexit,ons of war have expanded to include more peripheral and distanced elements (and have focused more on noncombatant contributions to war). . (2017) shows how war representation is still stuck between discourses of realism and modes of spectacularization.

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Conclusion: The Legacies of 1960s and 1970s War Representation, from Thatcher to Brexit,ons of war have expanded to include more peripheral and distanced elements (and have focused more on noncombatant contributions to war). . (2017) shows how war representation is still stuck between discourses of realism and modes of spectacularization.

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,Tragedy, Bleakness, Cynicism, and Existentialism in British War Cinema, 1956–1982,ntext for this emphasis and surveys key films to explore these themes and moods. In this post-World War II moment, absent an urgent propaganda mandate, war films begin to feature hopeless and bleak endings more generally. A case study comparing two films directed by Joseph Losey, . (1964) and . (197

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