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Titlebook: British Silent Cinema and the Great War; Michael Hammond (Senior Lecturer in Film),Michael Book 2011 Palgrave Macmillan, a division of Ma

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Introduction: Revolutionary Technologiesnal presence. As Michael Williams has shown in relation to Ivor Novello, there are many ways in which films not directly addressing the war can suggest a ‘war touch’.. This is particularly evident in films that dramatize competing types of masculinity, among which the figure of the ‘wounded man’ is prevalent.
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https://doi.org/10.1007/978-3-030-10734-5either of them. Thus, the dominant motif of First World War propaganda is often recalled in terms of a simple appeal to patriotism, motivated largely by a concentration on the vileness of the enemy. In the words of Professor Philip Taylor:
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Adopting New-to-the-World Productsed by Thomas Burke) and, further up the riverbank, in Kenneth Grahame’s . (where Selina rhapsodizes over Trafalgar Day — she ‘had taken spiritual part in every notable engagement of the British Navy’).
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‘A Victory and a Defeat as Glorious as a Victory’: , (Walter Summers, 1927)ed by Thomas Burke) and, further up the riverbank, in Kenneth Grahame’s . (where Selina rhapsodizes over Trafalgar Day — she ‘had taken spiritual part in every notable engagement of the British Navy’).
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‘Fire, Blood and Steel’: Memory and Spectacle in , (Sinclair Hill, 1928) film’s complex iconography addresses the mythic home/front divide, particularly through the duality of its protagonists, and issues of history, remembrance and modernity as the audiences of 1928 were invited to recall the events of 1915.
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The Dead, Battlefield Burials and the Unveiling of War Memorials in Films of the Great War Eraied by compiling ‘rolls of honour’ and displaying them outside churches and other prominent places. In working-class districts the rolls often took the form of a street shrine, where the list of names would be framed and decorated with flowers and Christian and patriotic symbols.
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