Abstract
Arguably, across the history of war film, there has been a tendency to favour the grand perspective over the personal. Ideas of national glory, political supremacy and military might are constantly at the fore. This paper contends that films about even only World War II seem to clump together, and emerge at times of social or political tension or unrest. This paper will examine the beginning of the World War II film canon, during the conflict itself, then look at the late 1990s and early 2000s, when a number of politically-charged events occurred in the US and internationally. Key films examined are Michael Curtiz's Casablanca (1942) and Roman Polanski's The Pianist (2002).
| Original language | English |
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| Title of host publication | The London Film & Media Reader 2: The End of Representation?: Essays from Film and Media 2012, the Second Annual London Film and Media Conference, 22-24 June 2012, University of London |
| Publisher | London Symposium |
| Pages | 249-256 |
| Number of pages | 8 |
| ISBN (Print) | 9780957363144 |
| Publication status | Published - 2013 |
| Event | London Film and Media Conference - Duration: 22 Jun 2012 → … |
Conference
| Conference | London Film and Media Conference |
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| Period | 22/06/12 → … |