World War Ii Goes To The Movies Television Guide Volume I A K

A complete film guide to motion pictures and television shows that pertain to the war.

A Complete Film Guide to motion pictures and television shows that pertain to WWII. Facts and stories about Hollywood personal that served in the Armed Forces, War Bond drives, USO shows, Hollywood Canteen and those who were ruled 4 F during the war. Complete history of world cinema during the years of the war. As well as other interesting facts are also included in the first volume. Featurine shorts, cartoons, documentaries, and feature films. Don't forget to get the second volume L-Z.

A Complete Film Guide to motion pictures and television shows that pertain to WWII. Facts and stories about Hollywood personal that served in the Armed Forces, War Bond drives, USO shows,Hollywood Canteen and those who were ruled 4 F during the war. Complete history of world cinema during the years of the war. As well as other interesting facts are also included. Featuring shorts, cartoons, documentaries, and feature films in the second volume L-Z. Don't forget the first volume A-K edition.

A complete film guide to all of your films and television shows that pertain to WWII. Included are every WWII film produced throughout the world. Historical and informative. Stories behind the Hollywood Canteen, USO shows, War Bond drives, those who served or were classified as 4F during the war. Many interested stories!

As rich in history as World War II at the Movies, which commemorates in chronological order World War II major battles and pivotal events and captures the spirit of frontline heroes and strategist leaders, World War II at the Movies, Volume II, is as different in content and format. These compelling major motion picture films, blockbuster thrillers, and fascinating supplemental data elucidate and elaborate on top secret commando missions, challenges that wounded veterans faced adapting to civilian life with life-changing disabilities, and innovation, development, and advances in war weaponry technology, which led to the Allied victory over tyranny. You will find out: • whose naval career was depicted and portrayed by Cliff Robertson at the time he was a sitting president of the United States • who was the youngest World War II veteran (who enlisted in the Navy at the age of twelve) • who was the oldest World War II veteran (who died in December of 2018 at the age of 112) • which "lady" came to England's financial aid when they couldn't fund the spitfire's entry in the Schneider race (the winner of which would be awarded funds to further advance airplane design) • who invented Germany's enigma code machine

The little-explored story of how politics, propaganda, and profits were combined to create the drama, imagery and fantasy that was American film during World War II. 32 black-and-white photographs.

The immediacy and perceived truth of the visual image, as well as film and television's ability to propel viewers back into the past, place the genre of the historical film in a special category. War films--including antiwar films--have established the prevailing public image of war in the twentieth century. For American audiences, the dominant image of trench warfare in World War I has been provided by feature films such as All Quiet on the Western Front and Paths of Glory. The image of combat in the Second World War has been shaped by films like Sands of Iwo Jima and The Longest Day. And despite claims for the alleged impact of widespread television coverage of the Vietnam War, it is actually films such as Apocalypse Now and Platoon which have provided the most powerful images of what is seen as the "reality" of that much disputed conflict. But to what degree does history written "with lightning," as Woodrow Wilson allegedly said, represent the reality of the past? To what extent is visual history an oversimplification, or even a distortion of the past? Exploring the relationship between moving images and the society and culture in which they were produced and received, World War II, Film, and History addresses the power these images have had in determining our perception and memories of war. Examining how the public memory of war in the twentieth century has often been created more by a manufactured past than a remembered one, a leading group of historians discusses films dating from the early 1930s through the early 1990s, created by filmmakers the world over, from the United States and Germany to Japan and the former Soviet Union. For example, Freda Freiberg explains how the inter-racial melodramatic Japanese feature film China Nights, in which a manly and protective Japanese naval officer falls in love with a beautiful young Chinese street waif and molds her into a cultured, submissive wife, proved enormously popular with wartime Japanese and helped justify the invasion of China in the minds of many Japanese viewers. Peter Paret assesses the historical accuracy of Kolberg as a depiction of an unsuccessful siege of that German city by a French Army in 1807, and explores how the film, released by Hitler's regime in January 1945, explicitly called for civilian sacrifice and last-ditch resistance. Stephen Ambrose contrasts what we know about the historical reality of the Allied D-Day landings in Normandy on June 6, 1944, with the 1962 release of The Longest Day, in which the major climactic moment in the film never happened at Normandy. Alice Kessler-Harris examines The Life and Times of Rosie the Riveter, a 1982 film documentary about women defense workers on the American home front in World War II, emphasizing the degree to which the documentary's engaging main characters and its message of the need for fair and equal treatment for women resonates with many contemporary viewers. And Clement Alexander Price contrasts Men of Bronze, William Miles's fine documentary about black American soldiers who fought in France in World War I, with Liberators, the controversial documentary by Miles and Nina Rosenblum which incorrectly claimed that African-American troops liberated Holocaust survivors at Dachau in World War II. In today's visually-oriented world, powerful images, even images of images, are circulated in an eternal cycle, gaining increased acceptance through repetition. History becomes an endless loop, in which repeated images validate and reconfirm each other. Based on archival materials, many of which have become only recently available, World War II, Film, and History offers an informative and a disturbing look at the complex relationship between national myths and filmic memory, as well as the dangers of visual images being transformed into "reality."

We'll Always Have the Movies explores how movies made in Hollywood during World War II were vehicles for helping Americans understand the war. Far from being simplistic, flag-waving propaganda designed to evoke emotional reactions, these films offered audiences narrative structures that formed a foundation for grasping the nuances of war. These films asked audiences to consider the implications of the Nazi threat, they put a face on both our enemies and allies, and they explored changing wartime gender roles. We'll Always Have the Movies reveals how film after film repeated the narratives, character types, and rhetoric that made the war and each American's role in it comprehensible. Robert L. McLaughlin and Sally E. Parry have screened more than 600 movies made between 1937 and 1946—including many never before discussed in this context—and have analyzed the cultural and historical importance of these films in explaining the war to moviegoers. Pre-Pearl Harbor films such as Sergeant York, Foreign Correspondent, and The Great Dictator established the rationale for the war in Europe. After the United States entered the war, films such as Air Force, So Proudly We Hail! and Back to Bataan conveyed reasons for U.S. involvement in the Pacific. The Hitler Gang, Sahara, and Bataan defined our enemies; and Mrs. Miniver, Mission to Moscow, and Dragon Seed defined our allies. Some movies—The Miracle of Morgan's Creek, Hail the Conquering Hero, and Lifeboat among them—explored homefront anxieties about the war's effects on American society. Of the many films that sought to explain the politics behind and the social impact of the war—and why it concerned Americans—Casablanca is perhaps one of the most widely recognized. McLaughlin and Parry argue that Rick's Café Américain serves as a United Nations, sheltering characters who represent countries being oppressed by Germany. At Rick's, these characters learn that they share a common love of freedom, which is embodied in patriotism; from this commonality, they overcome their differences and work together to solve a conflict that affects them all. As the representative American, Rick Blain (Humphrey Bogart) cannot idly stand by in the face of injustice, and he ultimately sides with those being oppressed. Bogart's character is a metaphor for America, which could also come out of its isolationism to be a true world leader and unite with its allies to defeat a common enemy. Collectively, Hollywood's war-era films created a mythic history of the war that, even today, has more currency than the actual events of World War II.

From the Turner Classic Movies Library: Film and history buffs alike will enjoy this engrossing story of Hollywood's involvement in World War II, as it's never before been told. Remember a time when all of Hollywood—with the expressed encouragement and investment of the government—joined forces to defend the American way of life? It was World War II and the gravest threat faced the nation, and the world at large. Hollywood answered the call to action. This is the riveting tale of how the film industry enlisted in the Allied effort during the second World War—a story that started with staunch isolationism as studios sought to maintain the European market and eventually erupted into impassioned support in countless ways. Industry output included war films depicting battles and reminding moviegoers what they were fighting for, "home-front" stories designed to boost the morale of troops overseas, and even musicals and comedies that did their bit by promoting the Good Neighbor Policy with American allies to the south. Stars like Carole Lombard—who lost her life returning from a war bond-selling tour—Bob Hope, and Marlene Dietrich enthusiastically joined USO performances and risked their own health and safety by entertaining troops near battlefronts; others like James Stewart and Clark Gable joined the fight themselves in uniform; Bette Davis and John Garfield created a starry haven for soldiers in their founding of the Hollywood Canteen. Filmmakers Orson Welles, Walt Disney, Alfred Hitchcock, and others took breaks from thriving careers to make films aiming to shore up alliances, boost recruitment, and let the folks back home know what beloved family members were facing overseas. Through it all, a story of once-in-a-century unity—of a collective need to stand up for humanity, even if it means risking everything—comes to life in this engrossing, photo-filled tale of Hollywood Victory.

FROM HELL TO HOLLYWOOD: An Encyclopedia of Warld War II Films offers the most comprehensive illustrated guide ever assembled for theatrical motion-pictures, English-language and international, dealing with the conflict that consumed America and the globe during the mid-20th century. Though United States official involvement did not begin until December, 1941, following the bombing of Pearl Harbor by Japan's imperial air force, early battles and other precipitous moments, which led to legendary conflicts in Europe and the Pacific, can be traced back through the better part of a decade, many deriving from the unsatisfactory treaties that ended the initial Great War. This book also addresses WWII's aftermath in America, Asia, and Europe, as varied filmmakers have portrayed that difficult period. In a unique approach to this complex, broad subject, specific films are grouped according to unifying themes that involve varied aspects of 'The Big Picture.' These range from training of civilians for a new, updated state-of-the-art armed forces to the impact of warfare on the development of commercial flight, also the unique roles played by spies, People's Armies, and other misunderstood aspects of the war as writers and directors perceived them then, as well as more recent Revisionist portrayals. Included are hundreds of vivid photos, many never before printed in book form. This work is so immense that it had to be presented in two inter-dependent volumes--a first for Bear Manor Media! This is Volume One. DOUGLAS BRODE is a screenwriter, novelist, graphic novelist, produced playwright, multi-award winning journalist, and multi-award winning educator. He created and taught the Film Classics program for The Newhouse School of Public Communications at Syracuse University until his retirement. Now Brode concentrates on turning out further books, both fiction and non-fiction. These include Deadlier Than the Male: Femme Fatales in 1960s and 1970s Cinema for Bear Manor Media.