Titlebook: New Perspectives on the War Film; Clémentine Tholas,Janis L. Goldie,Karen A. Ritzenh Book 2019 The Editor(s) (if applicable) and The Autho

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Vamps and Virgins: The Women of 1920s Hollywood War Romances, Hollywood. She points out that in the 1920s, Hollywood studios considered females to be their target audience and so geared their narratives and complex female protagonists accordingly. Exploring films from that time era, Clarke connects melodrama and war and observes the broader relationship betwe

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整洁漂亮

The Other Fights Back: Indigenizing the War Film,r questions how the war film can be re-imagined when the audience is provided with an Indigenous point of view. As she argues, when traditionally marginalized voices are the focus of a film, conceptions of national identity, heroism, and memory may be challenged. Gauthier finds that due to commercia

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parallelism

,“So Long as They Are Maintaining a Bona Fide Family Relationship in the Home”: Women in World War I how the federal government envisioned the role of women in the war effort at the time and uncovers, via looking at samples of the relevant film documentaries, that the films present a temporary and tempered version of revision in both roles and representations. In this way, while minute changes for

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Post-socialist Hauntings in Vietnamese Revisionist Cinema, the Vietnamese film industry for the readers before tackling the important role of the ghosts in these two revisionist films. He argues that by using spirits, Đặng’s critiques failed socialist promises in addition to the tendency to romanticize the sacrifices of war as well as postwar Vietnamese so

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