Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

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.

Film soundtracks --- Motion picture music --- War films --- Motion picture soundtracks --- Movie soundtracks --- Soundtracks, Film --- Soundtracks, Motion picture --- Soundtracks, Movie --- Sound recordings --- History and criticism. --- War films History and criticism --- History and criticism --- american film. --- american sniper. --- apocalypse now. --- battle. --- black hawk down. --- cinema studies. --- cinema. --- combat films. --- combat training. --- combat. --- dialogue. --- film analysis. --- film music. --- film soundtrack. --- film studies. --- films about war. --- hollywood. --- hurt locker. --- movies about war. --- patriotic. --- saving private ryan. --- soldiers. --- sound effects. --- thin red line. --- veterans. --- vietnam war films. --- vietnam war movies. --- vietnam war. --- vietnam. --- war films. --- war movies. --- wartime.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

"Historically the bodies of civilians are the most damaged by the increasing mechanization and derealization of warfare, but this is not reflected in the representation of violence in popular media. In War Without Bodies, author Martin Danahay argues that the media in the United States in particular constructs a "war without bodies" in which neither the corpses of soldiers or civilians are shown. War Without Bodies traces the intertwining of new communications technologies and war from the Crimean War, when Roger Fenton took the first photographs of the British army and William Howard Russell used the telegraph to transmit his dispatches, to the first of three "video wars" in the Gulf region in 1990-91, within the context of a war culture that made the costs of organized violence acceptable to a wider public. New modes of communication have paradoxically not made more war "real" but made it more ubiquitous and at the same time unremarkable as bodies are erased from coverage. Media such as photography and instantaneous video initially seemed to promise more realism but were assimilated into existing conventions that implicitly justified war. These new representations of war were framed in a way that erased the human cost of violence and replaced it with images that defused opposition to warfare. Analyzing poetry, photographs, video and video games the book illustrates the ways in which war was framed in these different historical contexts. It examines the cultural assumptions that influenced the reception of images of war and discusses how death and damage to bodies was made acceptable to the public. War Without Bodies aims to heighten awareness of how acceptance of war is coded into texts and how active resistance to such hidden messages can help prevent future unnecessary wars"--

War --- Mass media and war. --- casualties in mass media. --- Moral and ethical aspects. --- derealization, warfare, civilian, civilian bodies, popular media, violence, violence in media, American media, United States media, soldiers, civilian casualties, corpse, war, dead bodies, The Dead Kennedys, Crimean War, Roger Fenton, army, photography, war photography, British army, Gulf war, war culture, organized violence, media coverage, realism, justified war, Iraq war, frames of war, human cost, images of war, anti-war, antiwar, media analysis, media studies, video games, violent video games, subliminal messages, peace, Charge of the Light Brigade, documenting war, mourning, war trauma, war games, fantasy wars, Dungeons and Dragons, virtual wars, virtual reality, PTSD, war politics, Sophie Ristelhueber, drone wars, gun violence, gory graphics, desensitization, war narrative, war prevention, media management, media censorship, war video games, war movies, war films, action movies, combat movies, combat video games, military movies, war drama, art of war, war management, management of violence, war videos.