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Destructive sublime : World War II in American film and media /

"The American popular imagination has long portrayed World War II as the 'good war, ' fought by the "greatest generation" for the sake of freedom and democracy. Yet, combat films and other war media complicate this conventional view by indulging in explosive displays of spec...

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Detalles Bibliográficos
Clasificación:Libro Electrónico
Autor principal: Allison, Tanine, 1979- (Autor)
Formato: Electrónico eBook
Idioma:Inglés
Publicado: New Brunswick, New Jersey : Rutgers University Press, [2018]
Colección:War culture.
Temas:
Acceso en línea:Texto completo

MARC

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100 1 |a Allison, Tanine,  |d 1979-  |e author. 
245 1 0 |a Destructive sublime :  |b World War II in American film and media /  |c Tanine Allison. 
264 1 |a New Brunswick, New Jersey :  |b Rutgers University Press,  |c [2018] 
300 |a 1 online resource (vii, 248 pages) :  |b illustrations (some color) 
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520 |a "The American popular imagination has long portrayed World War II as the 'good war, ' fought by the "greatest generation" for the sake of freedom and democracy. Yet, combat films and other war media complicate this conventional view by indulging in explosive displays of spectacular violence. Combat sequences, Tanine Allison argues, construct a counter-narrative of World War II by reminding viewers of the war's harsh brutality. Destructive Sublime traces a new aesthetic history of the World War II combat genre by looking back at it through the lens of contemporary video games like Call of Duty. Allison locates some of video games' glorification of violence, disruptive audiovisual style, and bodily sensation in even the most canonical and seemingly conservative films of the genre. In a series of case studies spanning more than seventy years--from wartime documentaries like The Battle of San Pietro to fictional reenactments like The Longest Day and Saving Private Ryan to combat video games like Medal of Honor--this book reveals how the genre's aesthetic forms reflect (and influence) how American culture conceives of war, nation, and representation itself"--  |c Provided by publisher 
504 |a Includes bibliographical references and index. 
505 0 |a Introduction: A retrospective look at the World War II combat genre -- "No faking here": The new authenticity of wartime combat documentaries -- The "good war"? Style and space in 1940s combat films -- Rationalizing war: Reconstructions of World War II during the Cold War and Vietnam -- Nostalgia for combat: World War II at the end of cinema -- Simulating war on an algorithmic playground -- Conclusion: A bad war? The World War II combat genre now. 
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650 0 |a World War, 1939-1945  |x Motion pictures and the war. 
650 0 |a World War, 1939-1945  |x Mass media and the war. 
650 0 |a War films  |z United States  |x History and criticism. 
650 0 |a War video games. 
650 6 |a Guerre mondiale, 1939-1945  |x Cinéma et guerre. 
650 6 |a Films de guerre  |z États-Unis  |x Histoire et critique. 
650 6 |a Jeux vidéo de guerre. 
650 7 |a PERFORMING ARTS  |x Reference.  |2 bisacsh 
650 7 |a PERFORMING ARTS  |x Film & Video  |x History & Criticism.  |2 bisacsh 
650 7 |a War video games  |2 fast 
650 7 |a Mass media and war  |2 fast 
650 7 |a War and motion pictures  |2 fast 
650 7 |a War films  |2 fast 
651 7 |a United States  |2 fast 
647 7 |a World War  |d (1939-1945)  |2 fast  |0 (OCoLC)fst01180924 
648 7 |a 1939-1945  |2 fast 
655 7 |a Criticism, interpretation, etc.  |2 fast 
776 0 8 |i Print version:  |a Allison, Tanine, 1979-  |t Destructive sublime.  |d New Brunswick, New Jersey : Rutgers University Press, [2018]  |z 9780813597492  |w (DLC) 2017054975  |w (OCoLC)1007582397 
830 0 |a War culture. 
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