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War and Film
From the onset of the film medium, directors have found war an endlessly compelling and fruitful subject for their art. In War and Film , Chapman explores their fascination as well as audiences’ enduring need to examine and experience the vicissitudes of war.
Chapman examines the issues of truthfulness and realism that arise in depictions of war, whether in the supposed truth telling of war documentaries or Hollywood battle scenes that are “more realistic than the real thing.” The book considers films from the U. S., Britain, and Europe, and the national responses to cinematic depictions of particular conflicts. In case studies of such legendary works as Das Boot , Apocalypse Now , and All Quiet on the Western Front , the book parses their dominant narrative themes, ranging from war as a pointless tragedy to combat as an exciting and heroic adventure. But few films, Chapman contends, probe into the deeper ramifications of war—the psychological scars left on the soldier and civilians.
A study of remarkable breadth and scope, War and Film exposes the power of cinema in shaping our perceptions of violent conflict.
Chapman examines the issues of truthfulness and realism that arise in depictions of war, whether in the supposed truth telling of war documentaries or Hollywood battle scenes that are “more realistic than the real thing.” The book considers films from the U. S., Britain, and Europe, and the national responses to cinematic depictions of particular conflicts. In case studies of such legendary works as Das Boot , Apocalypse Now , and All Quiet on the Western Front , the book parses their dominant narrative themes, ranging from war as a pointless tragedy to combat as an exciting and heroic adventure. But few films, Chapman contends, probe into the deeper ramifications of war—the psychological scars left on the soldier and civilians.
A study of remarkable breadth and scope, War and Film exposes the power of cinema in shaping our perceptions of violent conflict.
192 pages, Paperback
First published June 1, 2007
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About the author
James Chapman
27 books7 followersLibrarian Note: There is more than one author with this name in the Goodreads database.
James Chapman is Professor of Film Studies at the University of Leicester. He has written several books on the history of British popular culture, including work on cinema, television and comics.
He attended Wales High School during the 1980s. He took his BA (History) and MA (Film Studies) at the University of East Anglia and then undertook his doctoral research at Lancaster University, completing his thesis on the role of official film propaganda in Britain during the Second World War.
In 1996 he joined The Open University where he taught a broad range of undergraduate and postgraduate courses and was principal contributing author to the university’s first dedicated course on Film and Television History. He joined the University of Leicester as its founding Professor of Film Studies in 2005.
Chapman’s research focuses on British popular culture, especially cinema and television in their historical contexts. He has written or edited ten books, including two which he has co-authored with Professor Nicholas J. Cull. His work draws upon the ideas of the film theorist Gilles Deleuze and applies them to understanding the role and nature of popular film and television. His books include studies of the science fiction television series Doctor Who and the James Bond films. SFX magazine described his book Licence To Thrill as "thoughtful, intelligent, ludicrous and a bit snobby - bit like Bond really".
He is a Council member of the International Association for Media and History (IAMHIST) and is editor of the Historical Journal of Film, Radio and Television.
Chapman has also published articles in the following journals: Screen, Historical Journal of Film, Radio and Television, Journal of Popular British Cinema, Visual Culture in Britain, Journal of Contemporary History, Contemporary British History, Media History and European Journal of Cultural Studies.
James Chapman is Professor of Film Studies at the University of Leicester. He has written several books on the history of British popular culture, including work on cinema, television and comics.
He attended Wales High School during the 1980s. He took his BA (History) and MA (Film Studies) at the University of East Anglia and then undertook his doctoral research at Lancaster University, completing his thesis on the role of official film propaganda in Britain during the Second World War.
In 1996 he joined The Open University where he taught a broad range of undergraduate and postgraduate courses and was principal contributing author to the university’s first dedicated course on Film and Television History. He joined the University of Leicester as its founding Professor of Film Studies in 2005.
Chapman’s research focuses on British popular culture, especially cinema and television in their historical contexts. He has written or edited ten books, including two which he has co-authored with Professor Nicholas J. Cull. His work draws upon the ideas of the film theorist Gilles Deleuze and applies them to understanding the role and nature of popular film and television. His books include studies of the science fiction television series Doctor Who and the James Bond films. SFX magazine described his book Licence To Thrill as "thoughtful, intelligent, ludicrous and a bit snobby - bit like Bond really".
He is a Council member of the International Association for Media and History (IAMHIST) and is editor of the Historical Journal of Film, Radio and Television.
Chapman has also published articles in the following journals: Screen, Historical Journal of Film, Radio and Television, Journal of Popular British Cinema, Visual Culture in Britain, Journal of Contemporary History, Contemporary British History, Media History and European Journal of Cultural Studies.
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July 3, 2010The author loves Rambo II. He also likes The Eagle Has Landed, which is a complete disaster. But he does grasp the appeal of the war movie as spectacle, and devotes a chapter to the "special mission" genre (Where Eagles Dare, The Guns of Navarone, etc.). But there is still no penetrating reflection on the meaning of these films and why they're so awesome.
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