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German Ways of War deploys theories of space, mobility, and affect to investigate how war films realize their political projects. Analyzing films across the decades, from the 1910s to 2000s, German Ways of War addresses an important lacuna in media studies: while scholars have tended to focus on the similarities between cinematic looking and weaponized targeting -- between shooting a camera and discharging a gun – this book argues that war films negotiate spaces throughout that frame their violence in ways more revealing than their battle scenes. Beyond that well-known intersection of visuality and violence, German Ways of War explores how the genre frames violence within spatio-affective operations. The production of novel spaces and evocation of new affects transform war films, including the genre’s manipulation of mobility, landscape, territory, scales, and topological networks. Such effects amount to what author Jaimey Fisher terms the films’ “affective geographies” that interweave narrative-generated affects, spatial depictions, and political processes.

Space and time in motion pictures. --- War films --- History and criticism. --- war, German, Germany, politics, film, propaganda, photography, geography, war film, battle, cinema, Nazi, WWII, WWI.

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World War, 1939-1945 --- Motion pictures --- War films --- Motion pictures and the war --- History --- History and criticism --- History. --- History and criticism. --- 2ème guerre mondiale --- Cinéma --- Films de guerre --- Film catalogs --- Cinéma et guerre --- Filmographie --- Histoire --- Histoire et critique --- 2ème guerre mondiale --- Cinéma --- Cinéma et guerre --- World War, 1939-1945 - Motion pictures and the war - Film catalogs --- Motion pictures - United States - History --- War films - United States - History and criticism

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The twenty-seven original contributions to this volume investigate the ways in which the First World War has been commemorated and represented internationally in prose fiction, drama, film, docudrama and comics from the 1960's until the present. The volume thus provides a comprehensive survey of the cultural memory of the war as reflected in various media across national cultures, addressing the complex connections between the cultural post-memory of the war and its mediation. In four sections, the essays investigate (1) the cultural legacy of the Great War (including its mythology and iconography); (2) the implications of different forms and media for representing the war; (3) 'national' memories, foregrounding the differences in post-memory representations and interpretations of the Great War, and (4) representations of the Great War within larger temporal or spatial frameworks, focusing specifically on the ideological dimensions of its 'remembrance' in historical, socio-political, gender-oriented, and post-colonial contexts.

World War, 1914-1918 --- Literature, Modern --- Collective memory and literature. --- War films --- Collective memory and motion pictures. --- Literature and the war. --- History and criticism. --- Motion pictures and the war. --- Motion pictures and collective memory --- Literature and collective memory --- Motion pictures --- Literature --- War films History and criticism --- History and criticism --- World War, 1914-1918 - Literature and the war --- Literature, Modern - 20th century - History and criticism --- Collective memory and literature --- World War, 1914-1918 - Motion pictures and the war --- War films - History and criticism --- Collective memory and motion pictures --- World War I. --- cultural memory. --- war film. --- war literature.

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Who decides how, when, and where Americans fall in love and get married? Virginia Wexman's acute observations about movie stars and acting techniques show that Hollywood has often had the most powerful voice in demonstrating socially sanctioned ways of becoming a couple. Until now serious film critics have paid little attention to the impact of performance styles on American romance, and have often treated "patriarchy," "sexuality," and the "couple" as monolithic and unproblematic concepts. Wexman, however, shows how these notions have been periodically transformed in close association with the appearance, behavior, and persona of the stars of films such as The Maltese Falcon, The Big Sleep, Way Down East, The Man Who Shot Liberty Valance, Sunset Boulevard, On the Waterfront, Nashville, House of Games, and Do the Right Thing. The author focuses first on the way in which traditional marriage norms relate to authorship (the Griffith-Gish collaboration) and genre (John Wayne and the Western). Looking at male and female stardom in terms of the development of "companionate marriage," she discusses the love goddess and the impact of method acting on Hollywood's ideals of maleness. Finally she considers the recent breakdown of the ideal of monogamous marriage in relation to Hollywood's experimentation with self-reflexive acting styles. Creating the Couple is must reading for film scholars and enthusiasts, and it will fascinate everyone interested in the changing relationships of men and women in modern culture.

Love in motion pictures. --- Marriage in motion pictures. --- Motion picture acting. --- Motion pictures --- Social aspects --- Acting. --- Actor. --- Affective memory. --- Anglo. --- Broken Blossoms. --- Chapter 1 (House of Cards). --- Chapter Two (play). --- Character (arts). --- Christian Dior. --- Cinema of the United States. --- Classical Hollywood cinema. --- Close-up. --- Colonization. --- Consideration. --- Courtship. --- D. W. Griffith. --- Division of labour. --- Do the Right Thing. --- Elia Kazan. --- Endogamy. --- Eroticism. --- Exogamy. --- Fan magazine. --- Femininity. --- Film noir. --- Filmmaking. --- Gary Cooper. --- Gender role. --- Genre. --- Hegemony. --- Hermann Broch. --- Hollywood Star. --- Homoeroticism. --- Homosexuality. --- House of Games. --- Ideology. --- Improvisation. --- Incest. --- Individualism. --- Individuation. --- Ingrid Bergman. --- Lauren Bacall. --- Libido. --- Lifestyle (sociology). --- Male bonding. --- Margaret Herrick Library. --- Marlon Brando. --- Marsha Norman. --- Masculinity. --- Mean Streets. --- Melodrama. --- Method acting. --- Mexicans. --- Miscegenation. --- Monogamy. --- Montgomery Clift. --- Moscow Art Theatre. --- My Darling Clementine. --- Narcissism. --- Narrative. --- Nobility. --- On the Waterfront. --- Oppression. --- Orphans of the Storm. --- Patriarchy. --- Person. --- Personhood. --- Philosophy. --- Playwright. --- Post-structuralism. --- Potentiality and actuality. --- Psychoanalysis. --- Public figure. --- Publicity. --- Richard Dyer. --- Role-playing. --- Romantic hero. --- Royal intermarriage. --- Sam Spade. --- Satire. --- Self-actualization. --- Separate spheres. --- Sex differences in humans. --- Sexual desire. --- Struggle (TV series). --- Suggestion. --- Sunset Boulevard (musical). --- Superiority (short story). --- Tall in the Saddle. --- Terminology. --- The Big Sleep. --- The Maltese Falcon (novel). --- The Man Who Shot Liberty Valance. --- The Mothering Heart. --- The Other Hand. --- War film. --- Way Down East. --- Western (genre). --- White's. --- Writing.