Visual consumption, collective memory and the representation of war

Conceiving of the visual as a significant force in the production and dissemination of collective memory, we argue that a new genre of World War Two films has recently emerged that form part of a new discursive “regime of memory” about the war and those that fought and lived through it, constituting a commemoration as much about reflecting on the present as it is about remembering the past. First, we argue that these films seek to reaffirm a (particular conception of a) US national identity and military patriotism in the post–Cold War era by importing World War Two as the key meta‐narrative of America’s relationship to war in order to “correct” and help “erase” Vietnam’s more negative discursive rendering. Second, we argue that these films attempt to rewrite the history of World War Two by elevating and illuminating the role of the US at the expense of the Allies, further serving to reaffirm America’s position of political and military dominance in the current age, and third, that these films form part of a celebration of the generation that fought World War Two, which may accord them a position of nostalgic and sentimental greatness, as their collective spirit and notions of duty and service shine against the foil of what might frequently be seen as our own present moral ambivalence

Clint Eastwood to Jack Levitan, 13 August 1976

Letter from Clint Eastwood defending Mosconehttps://scholarlycommons.pacific.edu/mayor-moscone/1034/thumbnail.jp

Toasters, Seat Belts, and Inferring Program Properties

Abstract. Today’s software does not come with meaningful guarantees. This position paper explores why this is the case, suggests societal and technical impediments to more dependable software, and considers what realistic

Johnny Mercer: The Dream\u27s On Me Documentary Film

Because his music continues to speak to us even today, the story of Johnny Mercer\u27s life and work has widespread appeal. To mark the 100th anniversary of his birth in 1909, this documentary will present the life and work of Johnny Mercer through the story telling eyes of Clint Eastwood with new performances and interviews by: TONY BENNETT, JOHN WILLIAMS, JULIE ANDREWS, DR.JOHN, MICHAEL FEINSTEIN, BLAKE EDWARDS, JAMIE CULLUM, AUDRA McDONALD, ANDRE PREVIN, MAUDE MAGGART, ALAN BERGMAN and STEPHEN HOLDEN

Embodiment in the war film : Paradise Now and The Hurt Locker

In this article I compare two recent films that foreground the body at risk in the new wars of the twenty-first century. Paradise Now (Abu-Assad, 2005) and The Hurt Locker (Bigelow, 2008) convey the subject of the body in war from what would seem to be opposing perspectives, the first representing the experience of a resistance fighter, a suicide bomber in present-day Palestine, and the latter rendering the perceptions of a US soldier, the leader of a bomb disposal squad in Iraq. Seeming opposites, antitheses of each other, the two protagonists and the two films can be set face to face in a way that brings the changing nature of modern war into frame. No longer defined by the ideology of total war that shaped the grand narratives of twentieth-century combat, the new imagery of war and resistance, of insurgency and counter-insurgency, is crystallized here in a new symbolic iteration of the body at risk.Publisher PDFPeer reviewe