Representations of war
From the New Wave to the New Millennium
Bibliographic Data
| ID | 12914717 |
|---|---|
| Authors | Jonathan Ervine (0000-0002-9981-6178, Bangor University, corresponding author) |
| Year | 2009 |
| Volume | 2 |
| Issue | 1 |
| Pages | 81-91 |
| Publication date | 2009-06-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Journal of War and Culture Studies (JOURNAL) |
| Journal identifiers | ISSN: 1752-6272 • E-ISSN: 1752-6280 |
| Publisher | Routledge (PUBLISHER • GB) |
| DOI | 10.1386/jwcs.2.1.81_1 |
| OpenAlex | W1984963614 |
| Language | EN |
| References cited | 4 |
This article will analyse how cinema can be used to challenge dominant representations of war by comparing two French coordinated portmanteau films, and examine the role of the film-makers as public intellectuals in France. Its starting point will be Chris Marker's Loin du Vietnam (Far From Vietnam, 1967), which was primarily about America's war in Vietnam. This film will be compared with Alain Brigand's 2002 film 11'0901 September 11 (known in French under the title 11 minutes 9 seconds 1 image), which uses the portmanteau format as a means of exploring representations of the 2001 World Trade Center attacks and the ensuing War on Terror. It will be shown that both works share several cinematic and political preoccupations, notably concerning the use of images in justifying and opposing war. It will be concluded that both films demonstrate how challenging representations of war can provoke a great deal of aesthetic as well as political debate on both sides of the Atlantic
Archaeology · Art · Art history · French New Wave · Media studies · Movie theater · Point (geometry · Political science · Politics · Sociology · Spanish Civil War · Vietnam War · Visual arts · World War II · History · Intelligence, Security, War Strategy · Law
| Highly cited | No |
|---|