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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Heresy

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The Other Fights Back: Indigenizing the War Film,l imperatives, the narrative feature films fall back on common war film tropes in their goal to entertain audiences. In this way, while there are moments where the Indigenous “Other” fights back in the war film, the documentary format appears to offer greater promise for a fuller narrative and perspective of the marginalized in war.

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(1918), , (1926), , (1927): How Silent War Films Discuss Homosexuality and Gender Representations n, love, friendships, and femininity within. Accordingly, she discovers that these films tend to reassert a patriarchal and misogynistic vision or masculinity and gender roles. At the same time, they portray the various kinds of male and maternal love, virile friendships and physical desire that can reflect, and effect, social transformation.

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Post-socialist Hauntings in Vietnamese Revisionist Cinema,ciety. According to Win, the ghosts work to reflect the differences in the way the Vietnamese Communist Party (VCP) memorializes war and how survivors remember it. In this way, Đặng’s films resist State hegemony, at times and in various ways, but also provide alternative narratives of war.

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Sisters in Arms: Epic Narratives in , (2007) and , (2008),ive and prone to nurturing, even though these combatants are depicted as the worst kind of transgressor in a patriarchal structure. Caoduro concludes that the female violence that falls outside traditional social expectations within these films is domesticated.

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