Titlebook: Heroism and Gender in War Films; Karen A. Ritzenhoff,Jakub Kazecki Book 2014 Karen A. Ritzenhoff and Jakub Kazecki 2014 gender.humour.poli

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https://doi.org/10.1057/9781137360724gender; humour; politics; women

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Jessica R. WellsSociety has generated a major conflict for scientists undertaking toxicology, by its ever greater clamouring for risk assessment and absolute safety, and its equal demands for the decreasing use of animals.

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Introductionember 2013, millions of admirers walked by his open casket to pay him homage. In his article in ., Philip Gourevitch has no doubt that the South African leader was an modern incarnation of a fighter we know from epic poems of the Ancient Greek literature: “In a post-heroic age, Mandela attained the

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Mary Pickford’s WWI Patriotismtended to go even beyond the intended propaganda message it was supposed to convey. The motion pictures industry, thought to be assuming a rather pacifist stance in the early years of the war,. decided to embrace the governmental ideological combat in the movies it produced. Hollywood’s position reg

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The Reluctant Heroalia scandal that shocked the country in the late 1990s,. the Canadian military has faced challenges to repair its damaged reputation. Since that time, the Canadian Forces has focused on representing itself as an organization based on quality leadership, strong ethics, and commitment to internationa

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A Hero or a Villain, a Terrorist or a Liberator?vo Assassination. has been, for almost a century now, the focus of much historiographical attention. Some dozen films depict these events, though very little scholarly interest has been given to the importance of the cult of self-sacrifice and martyrdom in conditioning the actions of Gavrilo Princip

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No Women! Only Brotherse sequence shows recruits sequentially receiving inspections, medicals, and uniforms. With a business-like efficiency, officers oversee the martial production line, charging tardy recruits with: “holding up the war!” The film’s model for preparing to go to war reflects Warner Bros.’ corporate and fi

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The Postwar Anxiety of the American Pin-Upe posters throughout the war, by presenting the difficult readjustment following demobilization of three all-American servicemen: Homer Parrish (played by Harold Russell), sailor; Fred Derry (Dana Andrews), Air Force captain in the European theater; and Al Stephenson (Frederic March), Army sergeant

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