Guy Westwell
Biographic Data
| ID | 5936053 |
|---|---|
| NAME | Guy Westwell |
| GIVEN NAMES | Guy |
| FAMILY NAME | Westwell |
| SIGNATURE | WESTWELL G |
| AFFILIATIONS | Queen Mary University of London |
| ORCID | 0000-0002-5944-6221 |
| VERIFIED | Yes |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 1 |
| WORKS AS AUTHOR | 5 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2007 |
| LATEST PUBLICATION YEAR | 2016 |
| H-INDEX | 1 |
Rising flags, falling soldiers
This dossier seeks to expose and challenge the pervasive assumption that the modern secular icon is necessarily still or photographic and therefore marginal to the moving imagery of film and cinema. Our focus, in the following three case studies, on images linked to political violence reflects how this theme has dominated our notion of an icon throughout the eras of photography, cinema and digital technologies. This introduction briefly considers…
Flag-raising on Iwo Jima’ (1945) and the Hollywood war film
The iconic photograph ‘Flag-Raising on Iwo Jima’ shows five men raising the US flag on Mount Suribachi on the island of Iwo Jima, part-way through a battle between Japanese and US forces in World War II. The photograph was taken by Associated Press photographer Joe Rosenthal on 23 February 1945 and appeared on the front pages of US newspapers two days later. A painted interpretation of the photograph was used in the Seventh War Loan Bond Drive,wh…
The Politics of Hollywood Cinema
The driving ambition of this important book is to combat the argument, deeply ingrained in the discipline of film studies, that Hollywood films are ‘politically naïve or backward’ and ‘of a conservative, reactionary kind’ (p. 1). Instead, Rushton proposes that ‘some examples of classical Hollywood tackle politics and issues relating to democracy in ways that deserve to be explored’ and that can be considered as genuinely ‘democratic art’ (p. 2). …
One image begets another
This article examines two iconic American photographs Flag-raising on Iwo Jima (1945) and Ground Zero Spirit (2001). The ways in which the latter draws on the former encourages viewers to understand the terrorist attacks of September 11, 2001 through a frame of reference directly related to the experience and cultural memory of World War II. By detailing the changing meaning of the Flag-raising photograph in US history from 1945 to the present da…
Critical approaches to the history film—A field in search of a methodology
This article reviews Robert Rosenstone's book, History on Film/Film on History (Pearson, 2006). The review evaluates three key contributions: first, the description of the development of a field of study dedicated to examining the relationship between film and history; second, Rosenstone's demand that history on film be judged not in relation to written history but as a valid and productive form of representation in its own right; and, third, the…
Rising flags, falling soldiers
This dossier seeks to expose and challenge the pervasive assumption that the modern secular icon is necessarily still or photographic and therefore marginal to the moving imagery of film and cinema. Our focus, in the following three case studies, on images linked to political violence reflects how this theme has dominated our notion of an icon throughout the eras of photography, cinema and digital technologies. This introduction briefly considers…
Critical approaches to the history film—A field in search of a methodology
This article reviews Robert Rosenstone's book, History on Film/Film on History (Pearson, 2006). The review evaluates three key contributions: first, the description of the development of a field of study dedicated to examining the relationship between film and history; second, Rosenstone's demand that history on film be judged not in relation to written history but as a valid and productive form of representation in its own right; and, third, the…
One image begets another
This article examines two iconic American photographs Flag-raising on Iwo Jima (1945) and Ground Zero Spirit (2001). The ways in which the latter draws on the former encourages viewers to understand the terrorist attacks of September 11, 2001 through a frame of reference directly related to the experience and cultural memory of World War II. By detailing the changing meaning of the Flag-raising photograph in US history from 1945 to the present da…
The Politics of Hollywood Cinema
The driving ambition of this important book is to combat the argument, deeply ingrained in the discipline of film studies, that Hollywood films are ‘politically naïve or backward’ and ‘of a conservative, reactionary kind’ (p. 1). Instead, Rushton proposes that ‘some examples of classical Hollywood tackle politics and issues relating to democracy in ways that deserve to be explored’ and that can be considered as genuinely ‘democratic art’ (p. 2). …
Rising flags, falling soldiers
This dossier seeks to expose and challenge the pervasive assumption that the modern secular icon is necessarily still or photographic and therefore marginal to the moving imagery of film and cinema. Our focus, in the following three case studies, on images linked to political violence reflects how this theme has dominated our notion of an icon throughout the eras of photography, cinema and digital technologies. This introduction briefly considers…
Flag-raising on Iwo Jima’ (1945) and the Hollywood war film
The iconic photograph ‘Flag-Raising on Iwo Jima’ shows five men raising the US flag on Mount Suribachi on the island of Iwo Jima, part-way through a battle between Japanese and US forces in World War II. The photograph was taken by Associated Press photographer Joe Rosenthal on 23 February 1945 and appeared on the front pages of US newspapers two days later. A painted interpretation of the photograph was used in the Seventh War Loan Bond Drive,wh…
Art (4 works) · History (4 works) · History (4 works) · Law (4 works) · Law (4 works) · Political science (4 works) · Politics (4 works) · Sociology (4 works) · Art history (3 works) · Epistemology (3 works)