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Löschnigg, Martin [Editor]; Sokołowska-Paryż, Marzena [Editor]

The enemy in contemporary film

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  • Media type: E-Book
  • Title: The enemy in contemporary film
  • Contains: Frontmatter -- ; Table of Contents -- ; Introduction / Sokołowska-Paryż, Marzena / Löschnigg, Martin --
    Part I: The ‘Faces’ of the Enemy: Film Aesthetics and Contemporary (Geo)Politics -- ; New Enemies, New Cold Wars: Reimagining Occupation and Military Conflict in Norway / Iversen, Gunnar --
    ‘A Murky Business’: The Post-Soviet Enemy / Brintlinger, Angela --
    Of Monsters and Men: Forms of Evil in War Films / Pötzsch, Holger --
    The Domestic Enemy in British TV Documentaries on the Iraq War / Harris, Janet --
    Britain’s Muslims as the Enemy Within in Contemporary British Cinema / Jameela, Maryam --
    (Re)Framing the Disembodied Public Enemy: The ‘War on Drugs’ in Contemporary Narrative Screen Media / Zappe, Florian --
    Part II: Who are the Perpetrators? Who are the Victims? Confronting Difficult Pasts and the Crisis of Identity -- ; From ‘Ivan’ to Andreij: The Red Army in German Film and TV / Rau, Petra --
    Enemies within: Reimagining the ‘Fallen Women’ of World War II in Contemporary Finnish Documentary / Oisalo, Niina --
    The Collaborator as Enemy during the French Occupation in (Auto‐)Biographical and Post-Memory Cinema / Perret, Caroline --
    False Idyll: Siri’s L’Ennemi Intime / McLaughlin, Noah --
    “Femme, je ne vous aime pas”: The Enemy Within in Joachim Lafosse’s A perdre la raison / Block, Marcelline --
    The Past as Enemy in Argentine Cinema, 1983–2000 / Ranalletti, Mario --
    Who Attacked Whom? The Year 1981 in Twenty-First Century Polish Feature Films / Kobielska, Maria --
    Part III: Do Nations Need Enemies? Transcending/Perpetuating Nationalisms -- ; Redefining the Enemy in Contemporary Australian Anzac Cinema / Reynaud, Daniel --
    The Fading of Enemy Images in Contemporary Latvian Cinema / Plakans, Andrejs / Zelče, Vita --
    Looking for an Invisible Enemy in Israeli Film / de Lucia, Francesca --
    Bonds Across Borders: A Fictional Enemy in Motion on the Israeli Screen / Talmon, Miri --
    Bosnia Beyond Good and Evil: (De)Constructing the Enemy in Western and Post-Yugoslav Films about the 1992–1995 War / Harper, Stephen --
    Forbidden Bonding at the Time of the War on Terror: the Enemy as Friend in Camp X-Ray and Boys of Abu Ghraib / Paryż, Marek --
    Canadians and the Pacific War 1941–1945 in Anne Wheeler’s A War Story and the War Between Us / Löschnigg, Martin --
    Lost Pasts and Unseen Enemies: The Pacific War in Recent Japanese Films / Rayner, Jonathan --
    Contributors -- ; Index
  • Contributor: Löschnigg, Martin [HerausgeberIn]; Sokołowska-Paryż, Marzena [HerausgeberIn]
  • imprint: Berlin; Boston: De Gruyter, [2018]
  • Published in: Culture & conflict ; 12
  • Extent: 1 Online-Ressource (VII, 413 Seiten)
  • Language: English
  • DOI: 10.1515/9783110591217
  • ISBN: 9783110590036; 9783110591217
  • Identifier:
  • RVK notation: AP 50300 : Einzelne Themen (CSN des Themas)
  • Keywords: Feind > Film > Geschichte 1970-2017
  • Origination:
  • Footnote: In English
    Mode of access: Internet via World Wide Web
  • Description: While filmic representations of ‘enemies’ are legion, film studies have so far neglected the way in which filmic mediations of enemy images have contributed to shaping cultural memories. The present volume investigates the (de)(re)constructions of enemy images in international film since the 1970s. The three parts deal with (re)configurations of the enemy in contemporary global cinemas, analysing films on the two world wars, on regional military conflicts, ethnic, racial and gender conflicts, socio-political conflicts and forms of terrorism. The essays concentrate on film aesthetics and contemporary (geo)politics, on filmic renderings of identity crises caused by troubled national pasts, and on the way films explore the collective psychological mechanisms at play in the construction, perpetuation or problematizing of enemy images. The volume aims to show how in spite of the diversity of national cinemas, moving images are constitutive of national collectivities by rendering conflicts involving an external or internal enemy as the defining points in national or communal histories. It also points out how the dynamics of internalism and exteriority (of ‘we’ and ‘they’) has proved vital in this process.     
  • Access State: Open Access
  • Rights information: Attribution - Non Commercial - No Derivs (CC BY-NC-ND)