War Isn't Hell, It's Entertainment


Book Description

Real war is a cruel theater of death, yet it is also an exciting narrative exploited for national, political and commercial purposes and turned into numerous films, television shows, computer games, news stories and reenactment plays. These essays examine the relationship between war, visual media and entertainment from a number of academic perspectives. Key topics include how war is used as an imaginary site to stage dramas; how boundaries between war, media, and entertainment dissolve as new media alters the formal qualities of representation; how entertainment is used to engage audiences; and what effect products of war and entertainment have on consumers of popular culture.




Docu-Fictions of War


Book Description

Historical writing and fiction are not the same thing, though historians often creatively manipulate material in imposing plot structures, selecting starting and ending points, and fashioning compelling literary characters from historical figures. In Docu-Fictions of War, Tatiana Prorokova argues that the opposite is also true—war fiction offers a kind of history that both documents its subjects and provides a snapshot of the cultural representation of the United States’ most recent military involvements. She covers a largely neglected body of cinematic and literary texts about the First Gulf War, the Balkan War, the Afghanistan War, and the Iraq War to open a fresh analysis of cultural texts on war. Prorokova contends that these texts are not pure fiction, but “docu-fictions”—works of imagination that can document their subjects while disclosing the social, political, and historical link between war and culture during the last three decades. Docu-Fictions of War analyzes how these representational narratives have highlighted a humanitarian rationale behind American involvement in each war, whether the stated goals were to free the oppressed from tyranny, stop genocide, or rid the world of terrorism. The book explores the gap between history—what allegedly happened—and the cultural mythology that is both true and inexact, tangible and sensed, recognized and undocumented.




The Things They Carried


Book Description

A classic work of American literature that has not stopped changing minds and lives since it burst onto the literary scene, The Things They Carried is a ground-breaking meditation on war, memory, imagination, and the redemptive power of storytelling. The Things They Carried depicts the men of Alpha Company: Jimmy Cross, Henry Dobbins, Rat Kiley, Mitchell Sanders, Norman Bowker, Kiowa, and the character Tim O’Brien, who has survived his tour in Vietnam to become a father and writer at the age of forty-three. Taught everywhere—from high school classrooms to graduate seminars in creative writing—it has become required reading for any American and continues to challenge readers in their perceptions of fact and fiction, war and peace, courage and fear and longing. The Things They Carried won France's prestigious Prix du Meilleur Livre Etranger and the Chicago Tribune Heartland Prize; it was also a finalist for the Pulitzer Prize and the National Book Critics Circle Award.




Humor, Entertainment, and Popular Culture during World War I


Book Description

Humor and entertainment were vital to the war effort during World War I. While entertainment provided relief to soldiers in the trenches, it also built up support for the war effort on the home front. This book looks at transnational war culture by examining seemingly light-hearted discourses on the Great War.




If Life Is a Game, How Come I'm Not Having Fun?


Book Description

In this lively and enlightening book, Paul Brenner suggests that treating life's events and everyday activities as a game would lead to a more socially functional and effective society. Through compelling suggestions and dynamic anecdotes, he conceptualizes all our economic, political, social, and spiritual pursuits in terms of role-play, and demonstrates the contribution this perspective can make to the happiness of individuals and to the systemic welfare of an increasingly complex social order.




War


Book Description

War: Contemporary Perspectives on Armed Conflicts around the World presents a broad variety of interdisciplinary and social scientific perspectives on the causes, processes, cultural representations, and social consequences of the armed conflicts between and within nations and other politically organized communities. This book provides theoretical views of armed conflict and its impact on people and institutions around the world.




Deep Violence


Book Description

2014 marks the 100th anniversary of the declaration of the First World War, and with it comes a deluge of books, documentaries, feature films and radio programs. We will hear a great deal about the horror of the battlefield. Bourke acknowledges wider truths: war is unending and violence is deeply entrenched in our society. But it doesn't have to be this way. This book equips readers with an understanding of the history, culture and politics of warfare in order to interrogate and resist an increasingly violent world. Wounding the World investigates the ways that violence and war have become internalized in contemporary human consciousness in everything from the way we speak, to the way our children play with one another, to the way that we ascribe social characteristics to our guns and other weapons. With a remarkable depth of insight, Bourke argues for a radical overhaul of our collective stance towards militarism from one that simply aims to reduce violence against people to one that would eradicate all violence. Her message is judicious and vital: knowledge about weapons and the violence they bring has simply become too important to cast aside or leave to the experts.




The Professor in the Cage


Book Description

An English professor begins training in the sport of mixed martial arts and explores the science and history behind the violence of men When a mixed martial arts (MMA) gym moves in across the street from his office, Jonathan Gottschall sees a challenge, and an opportunity. Pushing forty, out of shape, and disenchanted with his job as an adjunct English professor, part of him yearns to cross the street and join up. The other part is terrified. Gottschall eventually works up his nerve, and starts training for a real cage fight. He’s fighting not only as a personal test but also to answer questions that have intrigued him for years: Why do men fight? And why do so many seemingly decent people like to watch? In The Professor in the Cage, Gottschall’s unlikely journey from the college classroom to the fighting cage drives an important new investigation into the science and history of violence. Mixed martial arts is a full-contact hybrid sport in which fighters punch, choke, and kick each other into submission. MMA requires intense strength, endurance, and skill; the fights are bloody, brutal, and dangerous. Yet throughout the last decade, cage fighting has evolved from a small-time fringe spectacle banned in many states to the fastest-growing spectator sport in America. But the surging popularity of MMA, far from being new, is just one more example of our species’ insatiable interest not just in violence but in the rituals that keep violence contained. From duels to football to the roughhousing of children, humans are masters of what Gottschall calls the monkey dance: a dizzying variety of rule-bound contests that establish hierarchies while minimizing risk and social disorder. In short, Gottschall entered the cage to learn about the violence in men, but learned instead how men keep violence in check. Gottschall endures extremes of pain, occasional humiliation, and the incredulity of his wife to take us into the heart of fighting culture—culminating, after almost two years of grueling training, in his own cage fight. Gottschall’s unsparing personal journey crystallizes in his epiphany, and ours, that taming male violence through ritualized combat has been a hidden key to the success of the human race. Without the restraining codes of the monkey dance, the world would be a much more chaotic and dangerous place.




Eastwood's Iwo Jima


Book Description

With Flags of Our Fathers (2006) and Letters from Iwo Jima (2006), Clint Eastwood made a unique contribution to film history, being the first director to make two films about the same event. Eastwood's films examine the battle over Iwo Jima from two nations' perspectives, in two languages, and embody a passionate view on conflict, enemies, and heroes. Together these works tell the story behind one of history's most famous photographs, Leo Rosenthal's "Raising the Flag on Iwo Jima." In this volume, international scholars in political science and film, literary, and cultural studies undertake multifaceted investigations into how Eastwood's diptych reflects war today. Fifteen essays explore the intersection among war films, American history, and Japanese patriotism. They present global attitudes toward war memories, icons, and heroism while offering new perspectives on cinema, photography, journalism, ethics, propaganda, war strategy, leadership, and the war on terror.




Watching War on the Twenty-First Century Stage


Book Description

What do we watch when we watch war? Who manages public perceptions of war and how? Watching War on the Twenty-First-Century Stage: Spectacles of Conflict is the first publication to examine how theatre in the UK has staged, debated and challenged the ways in which spectacle is habitually weaponized in times of war. The 'battle for hearts and minds' and the 'war of images' are fields of combat that can be as powerful as armed conflict. And today, spectacle and conflict – the two concepts that frame the book – have joined forces via audio-visual technologies in ways that are more powerful than ever. Clare Finburgh's original and interdisciplinary interrogation provides a richly provocative account of the structuring role that spectacle plays in warfare, engaging with the works of philosopher Guy Debord, cultural theorist Jean Baudrillard, visual studies specialist Marie-José Mondzain, and performance scholar Hans-Thies Lehmann. She offers coherence to a large and expanding field of theatrical war representation by analysing in careful detail a spectrum of works as diverse as expressionist drama, documentary theatre, comedy, musical satire and dance theatre. She demonstrates how features unique to the theatrical art, namely the construction of a fiction in the presence of the audience, can present possibilities for a more informed engagement with how spectacles of war are produced and circulated. If we watch with more resistance, we may contribute in significant ways to the demilitarization of images. And what if this were the first step towards a literal demilitarization?