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Over the last five years, a cycle of films has emerged addressing the ongoing Iraq conflict. Some became well-known and one of them, The Hurt Locker, won a string of Oscars. But many others disappeared into obscurity. What is it about these films that led Variety to dub them a 'toxic genre'? Martin Barker analyses the production and reception of these recent Iraq war films. Among the issues he examines are the borrowing of soldiers' YouTube styles of self-representation to generate an 'authentic' Iraq experience, and how they take refuge in 'apolitical' post-traumatic stress disorder. Barker also looks afresh at some classic issues in film theory: the problems of accounting for film 'failures', the shaping role of production systems, the significance of genre-naming and the impact of that 'toxic' label. A 'Toxic Genre' is fascinating reading for film studies students and anyone interested in cinema's portrayal of modern warfare.

Iraq War, 2003-2011. --- War films --- History and criticism.

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Covering cinematic portrayals of 9/11 and the subsequent incursions into Iraq and Afghanistan, Post-9/11 Cinema: Through a Lens Darkly examines both dramas and documentaries that depict what some have termed ""Bush's war,"" as well as rebuttal films, films about terrorist activities, and films seen from the vantage point of journalists and military personnel. This book not only shows how motion pictures reflect societal values but also how such works can influence social attitudes and th

Motion pictures --- War films --- September 11 Terrorist Attacks, 2001 --- History --- Political aspects --- History and criticism. --- Influence.

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Motion pictures --- War films --- Cinéma --- Films de guerre --- History and criticism --- Histoire et critique --- Wellman, William A., --- Story of G.I. Joe (Motion picture)

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Si le XXe siècle a été celui des guerres, il a été aussi celui de l'avènement de la mise en scène de théâtre et de cinéma. Cet ouvrage interroge le lien étroit et vivant entre guerre et mise en scène, tant théâtrale que cinématographique. Car le phénomène de la guerre, à travers lequel s'écrit l'histoire du siècle, n'en finit pas de questionner la représentation artistique, et de renvoyer le théâtre et le cinéma à leurs propres limites, éthiques et esthétiques, les invitant à dépasser celles-ci pour s'inventer des formes nouvelles. Abordant les représentations de cinq périodes ou conflits charnières, la Première et la Seconde Guerre mondiale, les guerres postcoloniales, les guerres du Proche-Orient, le conflit en ex-Yougoslavie et l'après-11-Septembre, les études rassemblées ici sont l'oeuvre d'universitaires, de spécialistes, et ménagent une parole aux artistes eux-mêmes (cinéastes, metteurs en scène, auteurs, traducteurs). Elles abordent le traitement fictionnel aussi bien que la démarche documentaire, en faisant la part de leurs interpénétrations. Se dessinent de la sorte un panorama des événements les plus tragiques et destructeurs de notre histoire contemporaine, mais aussi un parcours des oeuvres qui, depuis cent ans jusqu'à notre plus récente actualité, se sont acharnées à construire une mémoire vivante de notre passé et de notre présent.

War and theater --- War films --- Guerre et théâtre --- Films de guerre --- History and criticism --- Histoire et critique --- Guerre et théâtre --- War and theater - Congresses --- War films - History and criticism - Congresses --- Cinéma et guerre --- Théâtre et guerre --- Guerre --- 20e siècle --- Au cinéma

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Virginia Woolf famously wrote 'as a woman I have no country', suggesting that women had little stake in defending countries where they are considered second-class citizens, and should instead be forces for peace. Yet women have been perpetrators as well as victims of violence in nationalist conflicts. This unique book generates insights into the role of gender in nationalist violence by examining feature films from a range of conflict zones. In The Battle of Algiers, female bombers destroy civilians while men dress in women's clothes to prevent the French army from capturing and torturing them. Prisoner of the Mountains shows a Chechen girl falling in love with her Russian captive as his mother tries to rescue him. Providing historical and political context to these and other films, Matthew Evangelista identifies the key role that economic decline plays in threatening masculine identity and provoking the misogynistic violence that often accompanies nationalist wars.

Sociology of the family. Sociology of sexuality --- Polemology --- Film --- Russia --- Yugoslavia --- Algeria --- Canada --- Women in motion pictures. --- War films --- Sex role in motion pictures. --- Nationalism in motion pictures. --- Political violence in motion pictures. --- Men in motion pictures. --- Women --- Violence in women. --- Female violence --- Violent women --- Women in politics --- Motion pictures --- History and criticism. --- Political activity. --- Social Sciences --- Political Science --- War films History and criticism --- History and criticism --- Movies --- Gender --- Gender roles --- Masculinity --- Media --- Nationalism --- War --- Sexually transgressive behavior --- Féminité --- Book