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Introduction: History and Film in Parallel Orbits

Eleftheria Thanouli

Eleftheria Thanouli is Assistant Professor in Film Theory at the Film Department at Aristotle University of Thessaloniki. She received her Ph.D. from the University of Amsterdam in 2005. She is the author of Post-Classical Cinema: An International Poetics of Film Narration (2009). Author affiliation details are correct at time of print publication.

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History and Film : A Tale of Two Disciplines

Bloomsbury Academic, 2019

Book chapter

...For most historians films are first and foremost artifacts, human-made objects for particular human use much like the many other objects with which man fills his environment. The term “artifact” regularly featured in the first...

“It Was Like a Movie”: The Impossibility of Representation in Oliver Stone’s World Trade Center

Karen Randell

Karen Randell is a Principal Lecturer in Film at Southampton Solent University, UK where she is Programme Leader for Film and Television. She teaches contemporary cinema and film history and her research interests include: war genre, trauma, masculinity and early cinema. She is published on trauma in film in Art in the Age of Terrorism (London: Holberton Publication: 2005) and in SCREEN. She is co-editor(with Sean Redmond) of The War Body on Screen (Continuum, NY: 2008) and Screen Methods: Comparative Readings in Film Studies (Wallflower Press: 2005) with Jacqueline Furby. Author affiliation details are correct at time of print publication.

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Reframing 9/11 : Film, Popular Culture and the “War on Terror”

Continuum, 2010

Book chapter

...“Was it a dream?” Michael Moore’s wistful voice-over at the start of Fahrenheit 9/11 (2004) sets up a viewing experience for its audience predicated on fantasy: the joyful scene of Al Gore accepting Florida’s vote, on election night 2000...

Prolepsis and the “War on Terror”: Zombie Pathology and the Culture of Fear in 28 Days Later . . .

Anna Froula

Anna Froula is an Assistant Professor of film studies at East Carolina University. Froula teaches courses on war literature and film, American outlaws, national mythology, and film history, theory, and fundamentals. She has published and presented on on representations of military women, masculinity, and World War II, Vietnam, and the “War on Terror.” She is currently working on a manuscript that explores popular representations of American military women from World War II to the present. Author affiliation details are correct at time of print publication.

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Reframing 9/11 : Film, Popular Culture and the “War on Terror”

Continuum, 2010

Book chapter

...“Terrorism, like a virus, is everywhere. Immersed globally, terrorism, like the shadow of any system of domination, is ready everywhere to emerge.” Introduction Danny Boyle’s 28 Days Later . . . (2002), one of the first post-9/11 horror...

Avatars of Destruction: Cheerleading and Deconstructing the “War on Terror” in Video Games

David Annandale

David Annandale

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Reframing 9/11 : Film, Popular Culture and the “War on Terror”

Continuum, 2010

Book chapter

...In November 2007, President George W. Bush visited wounded veterans of the Iraq War and played a video game with them: a shooter taking place in a simulated Baghdad."Bush Plays Video Games with Recovering War Veterans," AFP, November 9...

“Welcome to Hell, Private Shakespeare”

Karen Randell

Karen Randell is a Principal Lecturer in Film at Southampton Solent University, UK where she is Programme Leader for Film and Television. She teaches contemporary cinema and film history and her research interests include: war genre, trauma, masculinity and early cinema. She is published on trauma in film in Art in the Age of Terrorism (London: Holberton Publication: 2005) and in SCREEN. She is co-editor(with Sean Redmond) of The War Body on Screen (Continuum, NY: 2008) and Screen Methods: Comparative Readings in Film Studies (Wallflower Press: 2005) with Jacqueline Furby. Author affiliation details are correct at time of print publication.

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The War Body on Screen

Continuum, 2008

Book chapter

...This film is such a shell-shock dream.Press Pack for DeathwatchThis opening heading to the Press Pack of Deathwatch alerts us to the idea that this film engages with the terms of war trauma. Further on in the pack the producers inform...

Cultural Anxiety, Moral Clarity, and Willful Amnesia: Filming Philip K. Dick After 9/11

Lance Rubin

Lance Rubin

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Reframing 9/11 : Film, Popular Culture and the “War on Terror”

Continuum, 2010

Book chapter

...“We’re an empire now, and when we act we create our own reality. And while you’re studying that reality—judiciously, as you will—we’ll act again, creating other new realities, which you can study too.”Quoted in Ron Suskind, “Without...

The Land of the Dead and the Home of the Brave: Romero’s Vision of a Post-9/11 America

Terence McSweeney

Terence McSweeney

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Reframing 9/11 : Film, Popular Culture and the “War on Terror”

Continuum, 2010

Book chapter

...“The zombie films are what I perceive as my platform, a pulpit. They have given me an opportunity to at least, not necessarily express opinions or criticize, but observe what's going on in society.”The American film industry was initially...

From Nationalism to Normalization: Yugoslav and Post-Yugoslav Films about the Bosnian War

Stephen Harper

Stephen Harper is Senior Lecturer in Media Studies at the University of Portsmouth, UK. He has published widely on topics relating to television drama, cultural geopolitics and media images of mental distress. His previous books include Madness, Power and the Media (2009) and Beyond the Left: The Communist Critique of the Media (2012). Author affiliation details are correct at time of print publication.

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Screening Bosnia : Geopolitics, Gender and Nationalism in Film and Television Images of the 1992–95 War

Bloomsbury Academic, 2017

Book chapter

...As war spread across the former Yugoslav territories in the 1990s, cinematic production virtually ceased, continuing only in Croatia and Serbia (Pavićić 2010: 44). And although the Belgrade film industry was highly developed before the war,...

They Came Back

Adele Parker

Adele Parker

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The War Body on Screen

Continuum, 2008

Book chapter

...France was continuously involved in wars from 1939 until 1962—World War II, Indochina, and finally Algeria—and the country as a whole has yet to come to terms with these events, their consequences, and long-term effects. In recent years...

Inglourious Basterds and the gender of revenge

Heidi Schlipphacke

Heidi Schlipphacke

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Quentin Tarantino’s Inglourious Basterds : A Manipulation of Metacinema

Continuum, 2012

Book chapter

...Quentin Tarantino’s re-telling of the history of WWII, Inglourious Basterds, begins with an extreme long shot of a pristine French meadow with a simple farmhouse in the background. To the left of the farmhouse we see a small figure...