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Geweld in de literatuur --- Il faut sauver le soldat Ryan (Film) --- Jews in literature --- Joden in de literatuur --- Juifs dans la littérature --- Mannelijkheid in de literatuur --- Masculinity in literature --- Masculinité dans la littérature --- Saving Private Ryan (Film) --- Saving Private Ryan (Motion picture) --- Violence dans la littérature --- Violence in literature --- American fiction --- Jews in literature. --- Violence in literature. --- Masculinity in literature. --- Jewish authors --- History and criticism. --- History and criticism --- 20th century --- Mailer, Norman --- Criticism and interpretation --- Bellow, Saul --- Malamud, Bernard --- Roth, Philip --- Ozick, Cynthia --- Kushner, Tony --- American fiction - Jewish authors - History and criticism. --- American fiction - 20th century - History and criticism.

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Gladiator (Film) --- Gladiator (Motion picture) --- Il faut sauver le soldat Ryan (Film) --- JFK (Film) --- JFK (Motion picture) --- La liste de Schindler (Film) --- Saving Private Ryan (Film) --- Saving Private Ryan (Motion picture) --- Schindler's List (Film) --- Schindler's List (Motion picture) --- Spartacus (Film) --- Spartacus (Motion picture) --- United 93 (Film) --- United 93 (Motion picture) --- World Trade Center (Film) --- World Trade Center (Motion picture) --- #SBIB:309H1326 --- Films met een amusementsfunctie en/of esthetische functie: genres en richtingen --- Historical films --- History and criticism. --- Film --- United States --- History and criticism --- United States of America

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In Hymns for the Fallen, Todd Decker listens closely to forty years of Hollywood combat films produced after Vietnam. Ever a noisy genre, post-Vietnam war films have deployed music and sound to place the audience in the midst of battle and to provoke reflection on the experience of combat. Considering landmark movies-such as Apocalypse Now, Saving Private Ryan, The Thin Red Line, Black Hawk Down, The Hurt Locker, and American Sniper-as well as lesser-known films, Decker shows how the domain of sound, an experientially rich and culturally resonant aspect of cinema, not only invokes the realities of war, but also shapes the American audience's engagement with soldiers and veterans as flesh-and-blood representatives of the nation. Hymns for the Fallen explores all three elements of film sound-dialogue, sound effects, music-and considers how expressive and formal choices in the soundtrack have turned the serious war film into a patriotic ritual enacted in the commercial space of the cinema.

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