LEADER 04531oam 22006014a 450 001 996478971003316 005 20210915043811.0 010 $a0-8232-7653-8 010 $a0-8232-7652-X 010 $a0-8232-8080-2 010 $a0-8232-7651-1 024 7 $a10.1515/9780823276523 035 $a(CKB)3710000001177139 035 $a(MiAaPQ)EBC4842986 035 $a(OCoLC)976089217 035 $a(MdBmJHUP)muse59068 035 $a(MiAaPQ)EBC4821728 035 $a(DE-B1597)555428 035 $a(DE-B1597)9780823276523 035 $a(OCoLC)1048733783 035 $a(ScCtBLL)242aef88-8b81-4e4e-8d46-abdd73ebf73e 035 $a(EXLCZ)993710000001177139 100 $a20170217d2017 uy 0 101 0 $aeng 135 $aurmn#|||||||| 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 10$aWar Pictures$eCinema, Violence, and Style in Britain, 1939-1945 /$fKent Puckett 205 $aFirst edition. 210 1$aNew York :$cFordham University Press,$d2017. 210 4$dİ2017. 215 $a1 online resource (277 pages) 225 0 $aWorld War II: the global, human, and ethical dimension 311 08$a0823276503 311 08$a0823275744 320 $aIncludes bibliographical references and index. 327 $aIntroduction -- "But what is it about?": the life and death of Colonel Blimp -- Pistol's two bodies: Henry V at war -- Celia Johnson's face: before and after brief encounter -- Epilogue: Derek Jarman's war. 330 $aIn this original and engaging work, author Kent Puckett looks at how British filmmakers imagined, saw, and sought to represent its war during wartime through film. The Second World War posed unique representational challenges to Britain?s filmmakers. Because of its logistical enormity, the unprecedented scope of its destruction, its conceptual status as total, and the way it affected everyday life through aerial bombing, blackouts, rationing, and the demands of total mobilization, World War II created new, critical opportunities for cinematic representation. Beginning with a close and critical analysis of Britain?s cultural scene, War Pictures examines where the historiography of war, the philosophy of violence, and aesthetics come together. Focusing on three films made in Britain during the second half of the Second World War?Michael Powell and Emeric Pressburger?s The Life and Death of Colonel Blimp (1943), Lawrence Olivier?s Henry V (1944), and David Lean?s Brief Encounter (1945)?Puckett treats these movies as objects of considerable historical interest but also as works that exploit the full resources of cinematic technique to engage with the idea, experience, and political complexity of war. By examining how cinema functioned as propaganda, criticism, and a form of self-analysis, War Pictures reveals how British filmmakers, writers, critics, and politicians understood the nature and consequence of total war as it related to ideas about freedom and security, national character, and the daunting persistence of human violence. While Powell and Pressburger, Olivier, and Lean developed deeply self-conscious wartime films, their specific and strategic use of cinematic eccentricity was an aesthetic response to broader contradictions that characterized the homefront in Britain between 1939 and 1945. This stylistic eccentricity shaped British thinking about war, violence, and commitment as well as both an answer to and an expression of a more general violence. Although War Pictures focuses on a particularly intense moment in time, Puckett uses that particularity to make a larger argument about the pressure that war puts on aesthetic representation, past and present. Through cinema, Britain grappled with the paradoxical notion that, in order to preserve its character, it had not only to fight and to win but also to abandon exactly those old decencies, those ?sporting-club rules,? that it sought also to protect. 410 0$aWorld War II--the global, human, and ethical dimension. 606 $aMotion pictures$zGreat Britain$xHistory 606 $aWorld War, 1939-1945$xMotion pictures and the war 608 $aElectronic books. 615 0$aMotion pictures$xHistory. 615 0$aWorld War, 1939-1945$xMotion pictures and the war. 676 $a791.43658 700 $aPuckett$b Kent$0937247 801 0$bMdBmJHUP 801 1$bMdBmJHUP 906 $aBOOK 912 $a996478971003316 996 $aWar pictures$92111094 997 $aUNISA