By Glen Jeansonne, David Luhrssen
Americans were nearly continually at struggle on account that 1917. as well as global wars, the USA has fought proxy wars, propaganda wars, and a “war on terror,” between others. yet regardless of the consistent presence of struggle in American existence, a lot of what americans have in mind approximately these conflicts comes from Hollywood depictions.
In War at the Silver Screen Glen Jeansonne and David Luhrssen vividly show how struggle video clips have burned the pictures and impressions of these wars onto the yank psyche extra concretely than has the truth of the wars themselves. that's, our emotions approximately wars are generated much less by means of what we examine via research and discourse than through strong cinematic photographs and discussion. movies are compressed, excessive, and fast and infrequently a collective adventure instead of a solitary one. Actors and drama give you the visceral impression essential to shape perceptions of background which are even more enduring than these generated through different media or experiences.
War at the Silver Screen attracts on greater than a century of films and background, together with classics corresponding to All Quiet at the Western Front, Apocalypse Now, and The damage Locker, to check the legacy of yankee cinema on 20th- and twenty-first-century attitudes approximately struggle
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Extra resources for War on the silver screen : shaping America's perception of history
Marshall money was even offered to the Soviet bloc, but Stalin stubbornly refused capitalist economic assistance, even though he was willing to accept capitalist military aid during the war. There was ample reason for Americans to feel good about the war, and the tendency to accentuate the positive began with government censorship of the news as well as the patriotism of Hollywood. S. Eighth Air Force’s practice of bombing through cloud cover, contradicting official claims of “pin-point accurate” air raids, his report was blocked by the military.
The atmosphere in North Africa was tense, and not only because of the Free French. Worried that the powerful French fleet, the world’s fourth largest, would fall into German hands and enable the Nazis to challenge British sea power and invade the British Isles, the Royal Navy 40 Wo r ld Wa r I I ( 19 3 9 – 194 5 ) engaged in an undeclared war against Vichy. Britain seized merchant as well as warships and attacked the French naval base at Mers el Kebir in Algeria, killing fourteen hundred sailors.
Military personnel from all branches are seen in the background of many scenes from Casablanca wearing accurate uniforms. Warner Brothers, whose wardrobe department produced the uniform Lt. Colonel Warner wore to work after the war began, took greater pains than most other Hollywood studios in getting the small details right. Among those greeting Major Strasser’s arrival at the airport is the Italian Captain Toneli, brushed aside by Vichy and Nazi officials alike. Italy’s poor performance in the war became a joke on both sides of the conflict, with the Nazis forced to rescue their floundering ally in Greece and Libya.