text:
Japanese film poster for Kajiro Yamamoto's The War at Sea from Hawaii to Malaya (Hawai Mare oki kaisen), Toho Company, 1942
Post-classical
fourth-gen
Battlespace
Cold-region
Subterranean
Combined arms
List of military tactics
Counterinsurgency
Defeat in detail
Envelopment
Rapid dominance
Swarming
Tactical objective
Target saturation
Bandenbekämpfung
Expeditionary
Deep operation
Operational manoeuvre group
List of military strategies and concepts
Counter-offensive
Culminating
Defence in depth
Grand strategy
Conscription
Military specialism
Children in the military
Transgender people and military service
Sexual harassment in the military
Counter-recruitment
Military–industrial complex
Arms industry
Power projection
Loss of Strength Gradient
Court-martial
Perfidy
War crime
Air supremacy
Full-spectrum dominance
Overmatch
Anti-war movement
Asymmetric warfare
Broken-backed war theory
Demilitarisation
Deterrence theory
Horses in warfare
Irregular warfare
Military campaign
Military operation
Network-centric warfare
Perpetual war
Principles of war
Security dilemma
Tripwire force
War film
War game
War novel
War resister
Wartime sexual violence
Women in war
Colonial war
Endemic warfare
Lanchester's laws
Military occupations
Military tactics
War film is a film genre concerned with warfare, typically about naval, air, or land battles, with combat scenes central to the drama. It has been strongly associated with the 20th century.[1][2] The fateful nature of battle scenes means that war films often end with them. Themes explored include combat, survival and escape, camaraderie between soldiers, sacrifice, the futility and inhumanity of battle, the effects of war on society, and the moral and human issues raised by war. War films are often categorized by their milieu, such as the Korean War; the most popular subject is the Second World War. The stories told may be fiction, historical drama, or biographical. Critics have noted similarities between the Western and the war film.
Nations such as China, Indonesia, Japan, and Russia have their own traditions of war film, centred on their own revolutionary wars but taking varied forms, from action and historical drama to wartime romance.
Subgenres, not necessarily distinct, include anti-war, comedy, animated, propaganda, and documentary. There are similarly subgenres of the war film in specific theatres such as the Western Desert of North Africa and the Pacific in the Second World War, Vietnam, or the Soviet-Afghan War; and films set in specific domains of war, such as the infantry, the air, at sea, in submarines or at prisoner of war camps.
Further information: List of war films
The war film genre is not necessarily tightly defined: the American Film Institute, for example, speaks of "films to grapple with the Great War" without attempting to classify these.[3] However, some directors and critics have offered at least tentative definitions. The director Sam Fuller defined the genre by saying that "a war film's objective, no matter how personal or emotional, is to make a viewer feel war."[4] John Belton identified four narrative elements of the war film within the context of Hollywood production: a) the suspension of civilian morality during times of war, b) primacy of collective goals over individual motivations, c) rivalry between men in predominantly male groups as well as marginalization and objectification of women, and d) depiction of the reintegration of veterans.[5]
John Wayne in The Longest Day, 1962
The film critic Stephen Neale suggests that the genre is for the most part well defined and uncontentious, since war films are simply those about war being waged in the 20th century, with combat scenes central to the drama. However, Neale notes, films set in the American Civil War or the American Indian Wars of the 19th century were called war films in the time before the First World War.[1] The critic Julian Smith argues, on the contrary, that the war film lacks the formal boundaries of a genre like the Western, but that in practice, "successful and influential" war films are about modern wars, in particular World War II, with the combination of mobile forces and mass killing.[2] The film scholar Kathryn Kane[6] points out some similarities between the war film genre and the Western. Both genres use opposing concepts like war and peace, civilization and savagery. War films usually frame World War II as a conflict between "good" and "evil" as represented by the Allied forces and Nazi Germany whereas the Western portrays the conflict between civilized settlers and the savage indigenous peoples.[7] James Clarke notes the similarity between a Western like Sam Peckinpah's The Wild Bunch and "war-movie escapades" like The Dirty Dozen.[8]
The film historian Jeanine Basinger states that she began with a preconception of what the war film genre would be, namely that:
What I knew in advance was what presumably every member of our culture would know about World War II combat films—that they contained a hero, a group of mixed types [of people], and a military objective of some sort. They take place in the actual combat zones of World War II, against the established enemies, on the ground, the sea, or in the air. They contain many repeated events, such as mail call, all presented visually with appropriate uniforms, equipment, and iconography of battle.[9]
Further, Basinger considers Bataan to provide a definition-by-example of "the World War II combat film", in which a diverse and apparently unsuited group of "hastily assembled volunteers" hold off a much larger group of the enemy through their "bravery and tenacity".[10] She argues that the combat film is not a subgenre but the only genuine kind of war film. Since she notes that there were in fact only five true combat films made during the Second World War, in her view these few films, central to the genre, are outweighed by the many other films that are only just war films.[11] However, other critics such as Russell Earl Shain propose a far broader definition of war film, to include films that deal "with the roles of civilians, espionage agents, and soldiers in any of the aspects of war (i.e. preparation, cause, prevention, conduct, daily life, and consequences or aftermath.)"[12] Neale points out that genres overlap, with combat scenes for different purposes in other types of film, and suggests that war films are characterised by combat which "determines the fate of the principal characters". This in turn pushes combat scenes to the climactic ends of war films.[13] Not all critics agree, either, that war films must be about 20th-century wars. James Clarke includes Edward Zwick's Oscar-winning Glory (1990) among the war films he discusses in detail; it is set in the American Civil War, and he lists six other films about that war which he considers "notable".[14][a] The screenwriter and scholar Eric R. Williams identifies war films as one of eleven super-genres in his screenwriters' taxonomy, claiming that all feature-length narrative films can be classified as belonging to one of them.[b][16]
The British military historian Antony Beevor "despair[s]" at how film-makers from America and Britain "play fast and loose with the facts", yet imply that "their version is as good as the truth".[17] For example, he calls the 2000 American film U-571 a "shameless deception" for pretending that a US warship had helped to win the Battle of the Atlantic—seven months before America entered the war.[17] He is equally critical of Christopher Nolan's 2017 film Dunkirk with its unhistorically empty beaches, low-level air combat over the sea, and rescues mainly by the "little ships".[17] Beevor feels, however, that Continental European film-makers are often "far more scrupulous"; for example, in his view the 2004 German film Downfall accurately depicted the historical events of Hitler's final days in his Berlin bunker,[17] and he considers the 1965 French film The 317th Platoon, set in Vietnam, "the greatest war movie ever made". The 1966 film The Battle of Algiers is, he argues, a close second.[17]
The costliest war in U.S. history in terms of American life, this war has been the subject of, or the backdrop to, numerous films, documentaries and mini-series. One of the earliest films using the Civil War as its subject was D.W. Griffith's 1910 silent picture, The Fugitive.[18] Films that have the war as its main subject, or about a certain aspect of the war, include the 1989 film Glory, about the first formal unit of the Union Army during the American Civil War to be made up entirely of black men.[19] Some films such as Gettysburg focused on a single battle during the war,[20] or even on a single incident, like the French short film La Rivière du Hibou (An Occurrence at Owl Creek Bridge).[21] Others like the 1993 miniseries North and South spanned the entire breadth of the war. Some films deal with the human aspects of the war, such as The Red Badge of Courage (1951),[22] or Shenandoah (1965), on the tragedy that the war inflicted on the civilian population.[23] Ken Burns's The Civil War is the most-watched documentary in the history of PBS.[24]
1918 film poster for Die grosse Schlacht in Frankreich (The Great Battle in France), with Hindenburg in the background
The Spanish–American War
The first war films come from the Spanish–American War of 1898. Short "actualities"—documentary film-clips—included Burial of the Maine Victims, Blanket-Tossing of a New Recruit, and Soldiers Washing Dishes. These non-combat films were accompanied by "reenactments" of fighting, such as of Theodore Roosevelt's "Rough Riders" in action against the Spanish, staged in the United States.[25]
Further information: Fiction based on World War I, History of the United Kingdom during the First World War § Media, United States home front during World War I § Motion pictures, and Home front during World War I
During the First World War, many films were made about life in the war. Topics included prisoners of war, covert operations, and military training. Both the Central Powers and the Allies produced war documentaries. The films were also used as propaganda in neutral countries like the United States. Among these was a film shot on the Eastern Front by official war photographer to the Central Powers, Albert K. Dawson: The Battle and Fall of Przemysl (1915), depicting the Siege of Przemyśl, disastrous for the Austrians, with incidents reenacted using soldiers as extras.[26][27]
The 1915 Australian film Within Our Gates (also known as Deeds that Won Gallipoli) by Frank Harvey was described by the Motion Picture News as "a really good war story, which is exceptional".[28]
Staged scene of British troops advancing through barbed wire from The Battle of the Somme, 1916
The 1916 British film The Battle of the Somme, by two official cinematographers, Geoffrey Malins and John McDowell, combined documentary and propaganda, seeking to give the public an impression of what trench warfare was like. Much of the film was shot on location at the Western Front in France; it had a powerful emotional impact. It was watched by some 20 million people in Britain in its six weeks of exhibition, making it what the critic Francine Stock called "one of the most successful films of all time".[29][30]
The 1925 American film The Big Parade depicted unglamorous elements of war: the protagonist loses his leg, and his friends are killed.[31] William A. Wellman's Wings (1927) showed aerial combat during the war and was made in cooperation with the Army Air Corps. It proved a powerful recruiting tool.[32] It became the first film (in any genre) to be awarded an Oscar for best picture.[33] Later films of varied genres that deal with the First World War include David Lean's "colossal epic", both war film and biopic[34] Lawrence of Arabia (1962), shot in the then unfamiliar and exciting 70mm Technicolor,[35] and described by Steven Spielberg as "maybe the greatest screenplay ever written for the motion-picture medium";[34] Richard Attenborough's satirical anti-war musical comedy based on Joan Littlewood's play of the same name, Oh! What a Lovely War (1969);[36] Spielberg's 2011 war drama War Horse was based on Michael Morpurgo's children's novel of the same name.[37]
Many of the films promoted as "documentaries" added context to authentic battlefield scenes by staging critical events, and invented episodes and dialog to enhance excitement at the cost of authenticity.[38]
Finnish Civil War
Although the 1918 Finnish Civil War between Whites and Reds remained a controversial topic a century later in Finland,[39][40] many Finnish filmmakers have taken up the subject, often basing their work on a book. In 1957, Toivo Särkkä's 1918, based on Jarl Hemmer's play and novel, was screened at the 7th Berlin International Film Festival.[41] Recent films include Lauri Törhönen's 2007 The Border,[42][43] and Aku Louhimies's 2008 Tears of April, based on Leena Lander's novel.[44] Perhaps the most famous film about the Finnish Civil War is Edvin Laine's 1968 Here, Beneath the North Star, based on the first two books of Väinö Linna's Under the North Star trilogy; it describing the civil war from the losing side, Finland's Red Guards.[45]
Further information: List of Spanish Civil War films
Soviet poster for an exhibition about the Spanish Civil War, 1936
The Spanish Civil War has attracted directors from different countries. Sam Wood's For Whom the Bell Tolls (1943), based on Ernest Hemingway's book of the same name, portrays the fated romance between an American played by Gary Cooper and a partisan played by Ingrid Bergman against the backdrop of the civil war. The epic 168 minute film with its landscapes shot in Technicolor and a "beautiful" orchestral score was a success both with audiences and with critics.[46] Alain Resnais's Guernica (1950) uses Picasso's 1937 painting of the same name to protest against war.[46] Carlos Saura's La Caza (The Hunt, 1966) uses the metaphor of hunting to criticise the aggressiveness of Spanish fascism.[47] It won the Silver Bear for Best Director at the 16th Berlin International Film Festival in 1966.[48] Ken Loach's Land and Freedom (Tierra y Libertad, 1995), loosely based on George Orwell's Homage to Catalonia, follows a British communist through the war to reveal the painful contradictions within the anti-fascist Republican side.[46]
See also: Category:Korean War films
Samuel Fuller's The Steel Helmet (1951) was made during the Korean War (1950–1953). The critic Guy Westwell notes that it questioned the conduct of the war, as did later films like The Bridges at Toko-Ri (1954) and Pork Chop Hill (1959).[49] Fuller agreed that all his films were anti-war. No Hollywood films about the Korean War did well at the box office; the historian Lary May suggested in 2001 that they reminded American viewers of "the only war we have lost".[50]
In 1955, after the fighting, the successful South Korean action film Piagol about leftist guerrilla atrocities encouraged other film-makers. The 1960s military government punished pro-communist film-makers and gave Grand Bell Awards to films with the strongest anti-communist message. The Taebaek Mountains (1994) dealt with leftists from the south who fought for the communists, while Silver Stallion (1991) and Spring in My Hometown (1998) showed the destructive impact of American military presence on village life. The violent action films Shiri (1999) and Joint Security Area (2000) presented North Korea in a favourable light.[51]
Films in North Korea were made by government film studios and had clear political messages. The first was My Home Village (1949), on the liberation of Korea from the Japanese, presented as the work of Kim Il Sung without help from the Americans. Similarly, the country's films about the Korean War show victory without help from the Chinese. The film scholar Johannes Schönherr concludes that the purpose of these films is "to portray North Korea as a country under siege", and that since the U.S. and its "puppet" South Korea invaded the North once, they would do so again.[52]
Algerian War
Gillo Pontecorvo's dramatic The Battle of Algiers ((Italian: La battaglia di Algeri; Arabic: معركة الجزائر; French: La Bataille d'Alger), 1966) portrayed events in the Algerian War (1954–1956). It was shot on location as an Italo-Algerian co-production. It had the black and white newsreel style of Italian neorealism, and even-handedly depicts violence on both sides. It won various awards including Golden Lion at the Venice Film Festival.[53] It was attacked by French critics and was for five years banned in France.[54]
Further information: Vietnam War in film
Viet Cong poster for a 1967 film about the supposed martyrdom of Nguyen Van Be
Few films before the late 1970s about the Vietnam War actually depicted combat;[55] exceptions include The Green Berets (1968).[55] Critics such as Basinger explain that Hollywood avoided the subject because of opposition to United States involvement in the Vietnam War, making the subject divisive; in addition, the film industry was in crisis, and the army did not wish to assist in making anti-war films.[55][56]
From the late 1970s, independently financed and produced films showed Hollywood that Vietnam could be treated in film. Successful but very different portrayals of the war in which America had been defeated included Michael Cimino's The Deer Hunter (1978), and Francis Ford Coppola's Apocalypse Now (1979).[55] With the shift in American politics to the right in the 1980s, military success could again be shown in films such as Oliver Stone's Platoon (1986), Stanley Kubrick's Full Metal Jacket (1987) and John Irvin's Hamburger Hill (1987).[55]
The Vietnamese director Nguyễn Hồng Sến [vi]'s The Abandoned Field: Free Fire Zone (Cánh đồng hoang, 1979) gives an "unnerving and compelling .. subjective-camera-eye-view" of life under helicopter fire in the Mekong Delta during the Vietnam War. The film cuts to an (American) "helicopter-eye view", contrasting painfully with the human tenderness seen earlier.[57]
Later wars
Dino Mustafić's Remake (2003), written by Zlatko Topčić, tells the parallel coming-of-age stories of a father living in Sarajevo during World War II and his son living through the Siege of Sarajevo during the Bosnian War. According to Topčić, the story is based on incidents from his own life.[58][59]
The Iraq War served as the background story of U.S. movies, like Hurt Locker from 2008, Green Zone from 2010,[60] and American Sniper from 2014.
The War in Afghanistan since 2001 was depicted in various movies, among them Restrepo in 2010 and Lone Survivor from 2013.[60]
Filming aboard the Royal Navy submarine HMS Tribune, playing the role of "HMS Tyrant" in a propaganda film, 1943
Made by Western Allies
Further information: List of Allied propaganda films of World War II
The first popular Allied war films made during the Second World War came from Britain and combined the functions of documentary and propaganda. Films such as The Lion Has Wings and Target for Tonight were made under the control of the Films Division of the Ministry of Information. The British film industry began to combine documentary techniques with fictional stories in films like Noël Coward and David Lean's In Which We Serve (1942)—"the most successful British film of the war years"[61]—Millions Like Us (1943), and The Way Ahead (1944).[62]
B-25s about to launch from the USS Hornet in Thirty Seconds Over Tokyo (1944)
In America, documentaries were produced in various ways: General Marshall commissioned the Why We Fight propaganda series from Frank Capra; the War Department's Information-Education Division started out making training films for the U.S. Air Force and U.S. Navy; the Army made its own through the U.S. Signal Corps, including John Huston's The Battle of San Pietro.[63] Hollywood made films with propaganda messages about America's allies, such as Mrs. Miniver (1942), which portrayed a British family on the home front;[64] Edge of Darkness (1943) showed Norwegian resistance fighters,[65] and The North Star (1943) showed the Soviet Union and its Communist Party.[66] Towards the end of the war popular books provided higher quality and more serious stories for films such as Guadalcanal Diary (1943),[67] Mervyn LeRoy's Thirty Seconds Over Tokyo (1944),[68] and John Ford's They Were Expendable (1945).[69]
Screenshot from Moscow Strikes Back (1942). Snow camouflaged Russian ski infantry ride into battle on BT-7 cavalry tanks in the Battle of Moscow
The Russians, too, appreciated the propaganda value of film, to publicise both victories and German atrocities. Ilya Kopalin's documentary Moscow Strikes Back (Russian: Разгром немецких войск под Москвой, literally "The rout of the German troops near Moscow"), was made during the Battle of Moscow between October 1941 and January 1942. It depicted civilians helping to defend the city, the parade in Red Square and Stalin's speech rousing the Russian people to battle, actual fighting, Germans surrendering and dead, and atrocities including murdered children and hanged civilians. It won an Academy Award in 1943 for best documentary.[70][71] Newsreel cameras were similarly rushed to Stalingrad early in 1943 to record "the spectacle which greeted the Russian soldiers"—the starvation of Russian prisoners of war in the Voropovono camp by the German Sixth Army, defeated in the Battle of Stalingrad.[72]
Feature films made in the west during the war were subject to censorship and were not always realistic in nature. One of the first to attempt to represent violence, and which was praised at the time for "gritty realism", was Tay Garnett's Bataan (1943). The depiction actually remained stylised. Jeanine Basinger gives as an example the "worst image for stark violence" when a Japanese soldier beheads an American: the victim shows pain and his lips freeze in a scream, yet no blood spurts and his head does not fall off. Basinger points out that while this is physically unrealistic, psychologically it may not have been. The wartime audience was, she points out, well aware of friends and relatives who had been killed or who had come home wounded.[73]
Made by Axis powers
Further information: Nazi propaganda and Japanese propaganda during World War II
Hitler and Goebbels visiting Universum Film AG in 1935. The studio made propaganda films such as Triumph des Willens (1935) and Kolberg (1945).
The Axis powers similarly made films during the Second World War, for propaganda and other purposes. In Germany, the army high command brought out Sieg im Westen ("Victory in the West", 1941).[74] Other Nazi propaganda films had varied subjects, as with Kolberg (1945), which depicts stubborn Prussian resistance in the Siege of Kolberg (1807) to the invading French troops under Napoleon.[75] The propaganda minister Joseph Goebbels chose the historical subject as suitable for the worsening situation facing Nazi Germany when it was filmed from October 1943 to August 1944. At over eight million marks, using thousands of soldiers as extras and 100 railway wagonloads of salt to simulate snow, it was the most costly German film made during the war. The actual siege ended with the surrender of the town; in the film, the French generals abandon the siege.[76]
For Japan, the war began with the undeclared war and invasion of China in 1937, which the Japanese authorities called "The China Incident". The government dispatched a "pen brigade" to write and film the action in China with "humanist values". Tomotaka Tasaka's Mud and Soldiers (1939) for instance, shot on location in China, Kōzaburō Yoshimura's Legend of Tank Commander Nishizumi, and Sato Takeshi's Chocolate and Soldiers (1938) show the common Japanese soldier as an individual and as a family man, and even enemy Chinese soldiers are presented as individuals, sometimes fighting bravely.[77] Once war with the United States was declared, the Japanese conflict became known as the Pacific War. Japanese film critics worried that even with Western film techniques, their film output failed to represent native Japanese values.[78] The historian John Dower found that Japanese wartime films had been largely forgotten, as "losers do not get reruns", yet they were so subtle and skilful that Frank Capra thought Chocolate and Soldiers unbeatable. Heroes were typically low-ranking officers, not samurai, calmly devoted to his men and his country.[79] These films did not personalise the enemy and therefore lacked hatred, though Great Britain could figure as the "cultural enemy". For Japanese film-makers, war was not a cause but more like a natural disaster, and "what mattered was not whom one fought but how well". Asian enemies, especially the Chinese, were often portrayed as redeemable and even possible marriage partners. Japanese wartime films do not glorify war, but present the Japanese state as one great family and the Japanese people as an "innocent, suffering, self-sacrificing people". Dower comments that the perversity of this image "is obvious: it is devoid of any recognition that, at every level, the Japanese also victimized others."[80]
Further information: Fiction based on World War II and List of World War II films
Shooting a scene from A Bridge Too Far on location in Deventer, Netherlands, 1977
According to Andrew Pulver of The Guardian, the public fascination with war films became an "obsession", with over 200 war films produced in each decade of the 1950s and 1960s.[81] War film production in the United Kingdom and United States reached its zenith in the mid 1950s. [82] Its popularity in the United Kingdom was brought on by the critical and commercial success of Charles Frend's The Cruel Sea (1953).[82] Like others of the period, The Cruel Sea was based on a bestselling novel, in this case the former naval commander Nicholas Monsarrat's story of the battle of the Atlantic.[83][84] Others, like The Dam Busters (1954), with its exciting tale of the inventor Barnes Wallis's unorthodox bouncing bomb and its distinctive theme music, were true stories. The Dam Busters became the most popular film in Britain in 1955,[85] and remained a favourite as of 2015 with a 100% score on Rotten Tomatoes,[86] though, partly because it celebrated an "exclusively British [victory]", it failed in the American market.[87] A large number of war films were made in the 1955–58 period in particular. In 1957 alone, Bitter Victory, Count Five and Die, The Enemy Below, Ill Met by Moonlight, Men in War, The One That Got Away and Seven Thunders, and the highly successful, critically acclaimed pictures The Bridge on the River Kwai, which won the Academy Award for Best Picture that year,[88] and Paths of Glory were released.[89] Some, such as Bitter Victory, focused more on the psychological battle between officers and egotism rather than events during the war.[90] The Bridge on the River Kwai brought a new complexity to the war picture, with a sense of moral uncertainty surrounding war. By the end of the decade the "sense of shared achievement" which had been common in war films "began to evaporate", according to Pulver.[81]
Hollywood films in the 1950s and 1960s could display spectacular heroics or self-sacrifice, as in the popular Sands of Iwo Jima (1949) starring John Wayne. U.S. Marines considered Sands of Iwo Jima visually authentic, but found Lewis Milestone's Battle Cry (1955), with its attention to the lives of the men, the more realistic film.[91] The formula for a successful war film consisted, according to Lawrence Suid, of a small group of ethnically diverse men; an unreasonable senior officer; cowards became heroic, or died.[91] Jeanine Basinger suggests that a traditional war film should have a hero, a group, and an objective, and that the group should contain "an Italian, a Jew, a cynical complainer from Brooklyn, a sharpshooter from the mountains, a midwesterner (nicknamed by his state, "Iowa" or "Dakota"), and a character who must be initiated in some way".[73] Films based on real commando missions, like The Gift Horse (1952) based on the St. Nazaire Raid, and Ill Met by Moonlight (1956) based on the capture of the German commander of Crete, inspired fictional adventure films such as The Guns of Navarone (1961), The Train (1964) and Where Eagles Dare (1968). These used the war as a backdrop for spectacular action.[81]
Supposed realism: the Commemorative Air Force's Gulf Coast Wing's Tora! Tora! Tora! team simulating the attack on Pearl Harbor with a wall of fire instead of explosions, using planes such as T-6 Texans converted to resemble Mitsubishi A6M Zeros, and generating smoke[92][c] 2008
Darryl F. Zanuck produced the 178 minute documentary drama The Longest Day (1962), based on the first day of the D-Day landings, achieving commercial success and Oscars.[93] It was followed by large-scale but thoughtful films like Andrei Tarkovsky's Ivan's Childhood (1962), and quasi-documentary all-star epics filmed in Europe such as Battle of the Bulge (1965), Battle of Britain (1969), The Battle of Neretva (1969), Midway (1976) and A Bridge Too Far (1977). In Lawrence Suid's view, The Longest Day "served as the model for all subsequent combat spectaculars".[94] However, its cost also made it the last of the traditional war films, while the controversy around the help given by the U.S. Army and Zanuck's "disregard for Pentagon relations" changed the way that Hollywood and the Army collaborated.[94]
Zanuck, by then an executive at 20th Century Fox, set up an American–Japanese co-production for Richard Fleischer's Tora! Tora! Tora! (1970) to depict what "really happened on December 7, 1941" in the surprise attack on Pearl Harbor.[95][96] The film, panned by Roger Ebert[97] and The New York Times,[98] was a major success in Japan.[95] Its realistic-looking attack footage was reused in later films such as Midway (1976), The Final Countdown (1980), and Australia (2008).[99] The story was revisited in Pearl Harbor (2001), described by The New York Times as a "noisy, expensive and very long new blockbuster", with the comment that "for all its epic pretensions (as if epic were a matter of running time, tumescent music and earnest voice-over pronouncements), the movie works best as a bang-and-boom action picture".[100]
Steven Spielberg's Saving Private Ryan (1998) uses hand-held camera, sound design, staging and increased audio-visual detail to defamiliarise viewers accustomed to conventional combat films, so as to create what film historian Stuart Bender calls "reported realism", whether or not the portrayal is genuinely more realistic.[101] Jeanine Basinger notes that critics experienced it as "groundbreaking and anti-generic", with, in James Wolcott's words, a "desire to bury the cornball, recruiting poster legend of John Wayne: to get it right this time"; and that combat films have always been "grounded in the need to help an audience understand and accept war".[73] Its success revived interest in World War II films.[102] Others tried to portray the reality of the war, as in Joseph Vilsmaier's Stalingrad (1993), which The New York Times said "goes about as far as a movie can go in depicting modern warfare as a stomach-turning form of mass slaughter".[103]
Military–film industry relations
See also: Military-entertainment complex
Colonel Frank Capra (right) of the US Army Signal Corps confers with Captain Roy Boulting of the British Army Film Unit on the editing of the film Tunisian Victory in February 1944
Many war films have been produced with the cooperation of a nation's military forces. Since the Second World War, the United States Navy has provided ships and technical guidance for films such as Top Gun. The U.S. Air Force assisted with The Big Lift, Strategic Air Command and A Gathering of Eagles, which were filmed on Air Force bases; Air Force personnel appeared in many roles.[104] Critics have argued that the film Pearl Harbor's US-biased portrayal of events is a compensation for technical assistance received from the US armed forces, noting that the premiere was held on board a U.S. Navy carrier.[105] In another case, the U.S. Navy objected to elements of Crimson Tide, especially mutiny on board an American naval vessel, so the film was produced without their assistance.[106] The film historian Jonathan Rayner observes that such films "have also clearly been intended to serve vital propagandist, recruitment and public relations functions".[105]
National traditions
The first Chinese war films were newsreels like Battle of Wuhan (1911) and Battle of Shanghai (1913). Still in films such as Xu Xinfu's Battle Exploits (1925), war featured mainly as background. Only with the Second Sino–Japanese War from 1937 onwards did war film become a serious genre in China, with nationalistic films such as Shi Dongshan's Protect Our Land (1938). The Chinese Civil War, too, attracted films such as Cheng Yin's From Victory to Victory (1952). A more humanistic film set in the same period is Xie Jin's The Cradle (1979), while more recent large-scale commercial films include Lu Chuan's City of Life and Death (2009).[107] Chinese directors have repeatedly attempted to cover the atrocities committed by the Japanese during the Nanking massacre (1937–1938), with films such as the political melodrama Massacre in Nanjing, Mou Tun Fei's docudrama Black Sun: The Nanking Massacre, and the "contrived Sino–Japanese romance" Don't Cry, Nanking.[108] Zhang Yimou's epic Chinese film Flowers of War (2011), based on Geling Yan's novel, portrays the violent events through the eyes of a 13-year-old girl.[109]
The Siliwangi Division in combat, in a scene from Usmar Ismail's Darah dan Doa, 1950
Many Indonesian films deal with the occupation of the archipelago by the Japanese during the Second World War. Teguh Karya's Doea Tanda Mata (Mementos, literally "Two Eye Marks", 1985) covers the limited nationalist resistance to Dutch colonial rule in the 1930s.[110][111] A third group of films such as Enam Djam di Jogja (Six Hours in Yogyakarta, 1951) and Serangan Fajar (Attack at Dawn, 1983) covers the Indonesian war of independence (1945–1949). Two other films about the same period portray the Indonesian equivalent of the Chinese Long March: Usmar Ismail's Darah dan Doa (The Long March, literally "Blood and Prayer", 1950) and Mereka Kembali (They Return, 1975). Each of these films interprets the past from the perspective of its own time.[111]
The more recent Merdeka (Freedom) trilogy (2009–2011), starting with Merah Putih ("Red and White", the colours of the flag of the new Indonesia), revisits the campaign for independence through the lives of a diverse group of cadets who become guerillas.[112]
Karya's November 1828 (1979) looks at Indonesia's struggle for independence through historical drama about the Java or Diponegoro War (1825–1830), though the colonial enemy was the same, the Dutch. Deanne Schultz considered it "a valuable interpretation" of Indonesian history that "embodies the best of popular Indonesian cinema". It was the first Indonesian film to become well known internationally.[113]
Russia's "cinema front": Yury Ozerov (left) directing the filming of Stalingrad, 1987
War has been Russian cinema's major genre, becoming known indeed as the "cinema front", and its war films ranged from grim portrayals of atrocities to sentimental and even quietly subversive accounts.[114] Leonid Lukov's popular and "beautiful"[115] Two Warriors (1943) depicted two stereotypical Soviet soldiers, a quiet Russian and an extrovert southerner from Odessa, singing in his dugout.[116]
The many Russian films about the Second World War include both large-scale epics such as Yury Ozerov's Battle of Moscow (1985) and Mikhail Kalatozov's more psychological The Cranes are Flying (1957) on the cruel effects of war; it won the 1958 Palme d'Or at Cannes.[117]
See also: § Animated, and Category:Japanese war films
Japanese directors have made popular films such as Submarine I-57 Will Not Surrender (1959), Battle of Okinawa (1971) and Japan's Longest Day (1967) from a Japanese perspective.[118] These "generally fail to explain the cause of the war".[119] In the decades immediately after the Second World War, Japanese films often focused on human tragedy rather than combat, such as The Burmese Harp (1956) and Fires on the Plain, (1959).[119] From the late 1990s, films started to take a positive view of the war and of Japanese actions. These nationalistic films, including Pride (1998), Merdeka 17805 (2001), and The Truth about Nanjing (2007), have emphasized positive traits of the Japanese military and contended that the Japanese were victims of post-war vindictiveness and viciousness. Such films have, however, been subject to protest for revisionism.[119][120][121] The Eternal Zero (2013) narrates the tale of a Zero fighter pilot who is considered a coward by his comrades, as he returns alive from his missions. It broke the record takings for a Japanese live action film,[122] and won the Golden Mulberry at the Udine Far East Film Festival,[123] but was criticised for its nationalistic sympathy with kamikaze pilots.[124]
Subgenres
Further information: Documentary war film and List of World War II documentary films
The wartime authorities in both Britain and America produced a wide variety of documentary films. Their purposes included military training, advice to civilians, and encouragement to maintain security. Since these films often carried messages, they grade into propaganda. Similarly, commercially produced films often combined information, support for the war effort, and a degree of propaganda.[62][63] Newsreels, ostensibly simply for information, were made in both Allied and Axis countries, and were often dramatised.[125][126][127] More recently, in the Iran–Iraq War, Morteza Avini's Ravayat-e Fath (Chronicles of Victory) television series combined front-line footage with commentary.[128]
Further information: Propaganda film and World War I film propaganda
Teutonic Order (German) monks prepare the hanging of a Russian resistance leader. Still from Alexander Nevsky (1938)
Sergei Eisenstein's 1938 historical drama Alexander Nevsky depicts Prince Alexander's defeat of the attempted invasion of the Russian city of Novgorod by the Teutonic Knights.[129] By April 1939 the film had been seen by 23,000,000 people.[130] In 1941 the director and three others were awarded the Stalin Prize for their contributions. The film features a musical score by the classical composer Sergei Prokofiev, considered by artists such as the composer André Previn the best ever written for cinema.[131][132] Russell Merritt, writing in Film Quarterly, describes it as a "war propaganda film".[133] A 1978 Mondadori poll placed Alexander Nevsky among the world's 100 best motion pictures.[134]
Screenshot from Frank Capra's wartime Why We Fight series,[135] depicting lies being broadcast by the Nazi propaganda machine
During the Second World War, film propaganda was widely used. Kenneth Clark advised the British government that "If we renounced interest in entertainment as such, we might be deprived of a valuable weapon for getting across our propaganda"; he suggested using documentaries about the war and the war effort; celebrations of Britishness; and films about British life and character. Michael Powell and Clark agreed on a story about survivors of a U-boat crew, imbued with brutal Nazi ideology, travelling across Canada and meeting various kind, tolerant and intelligent Canadians, to encourage America into the war. The resulting film, 49th Parallel (1941), became the top film at British offices that year.[136] Entertaining films could carry messages about the need for vigilance, too, as in Went the Day Well? (1942) or the avoidance of "careless talk", as in The Next of Kin (1942).[62]
The romantic drama Casablanca (1943) vilified Nazism.
In America, Charlie Chaplin's The Great Dictator (1940) clearly satirised fascism.[137] Michael Curtiz's Casablanca (1943) was not simply a romance between the characters played by Humphrey Bogart and Ingrid Bergman, but vilified the Nazis and glorified resistance to them.[137] Frank Capra's Why We Fight series (1942–1945) won the 1942 Academy Award for best documentary, though it was designed to "influence opinion in the U.S. military".[63][138]
During the Cold War, "propaganda played as much of a role in the United States' struggle with the Soviet Union as did the billions of dollars spent on weaponry."[139] Face to Face with Communism (1951) dramatised an imagined invasion of the United States; other films portrayed threats such as communist indoctrination.[139]
Main article: Submarine films
The cramped, equipment-filled setting of a submarine film, Das Boot (1981), recreated in the Bavaria film studio
Submarine films have their own particular meanings and conventions, concerned specifically with giving the effect of submarine warfare. A distinctive element in this subgenre is the soundtrack, which attempts to bring home the emotional and dramatic nature of conflict under the sea. For example, in Wolfgang Petersen's 1981 Das Boot, the sound design works together with the hours-long film format to depict lengthy pursuit with depth charges, the ping of sonar, and threatening sounds such as of the propellors of enemy destroyers and torpedoes.[140] Classic films in the genre include The Enemy Below (1957)[141] and Run Silent, Run Deep (1958), both based on novels by naval commanders. Run Silent, Run Deep is a movie full of tension, both with the enemy and between the contrasting personalities of the submarine Commander and his Lieutenant, played by Clark Gable and Burt Lancaster.[142]
Further information: Prisoner of war § In popular culture
Model of Stalag Luft III used in filming The Great Escape (1963)
A popular subgenre of war films in the 1950s and 1960s was the prisoner of war film.[143] The genre was popularised in Britain with major films like Guy Hamilton's The Colditz Story (1955) and John Sturges's American film The Great Escape (1963).[143] They told stories of real escapes from German prisoner of war camps such as Stalag Luft III in the Second World War. Despite episodes of danger and human tragedy, these films delight in a continual boyish game of escape and ingenuity, celebrating the courage and the defiant spirit of the prisoners of war, and treating war as fun.[143][144][145] David Lean's Bridge on the River Kwai (1957) was judged best picture at the Oscars; it took the genre from chilly German prisons to the heat of a camp in Thailand. It was the first, too, to use lush colour to bring out the British stiff upper lip of the colonel, played by Alec Guinness in an Oscar-winning performance.[143] The "definitive" Oscar-winning prisoner of war film was Billy Wilder's Stalag 17 (1953), while the brief but powerful prison camp scenes of The Deer Hunter (1978) lend an air of tragedy to the whole of that film.[143]
First military comedy: Charlie Chaplin's Shoulder Arms (1918)
Further information: Comedy film § Military comedy
Charlie Chaplin's Shoulder Arms (1918) set a style for war films to come, and was the first comedy about war in film history.[146][147]
British cinema in the Second World War marked the evacuation of children from London with social comedies such as Those Kids from Town (1942) where the evacuees go to stay with an earl (a country nobleman), while in Cottage to Let (1941) and Went the Day Well? (1942) the English countryside is thick with spies.[148] Gasbags (1941) offered "zany, irreverent, knockabout" comedy making fun of everything from barrage balloons to concentration camps.[149] Abbott and Costello's Buck Privates (1941) was successful in America,[150] leading to many further wartime comedies.[151]
First animated propaganda film: Winsor McCay's The Sinking of the Lusitania (1918)
Winsor McCay's The Sinking of the Lusitania (1918) was a silent First World War film. At 12 minutes long, it was the longest animated film made at that time. It was probably the first animated propaganda film to be made; it remains the earliest serious animated drama that has survived.[152][153][154] Through World War II, animated propaganda shorts remained influential in American cinema. The Walt Disney Company, working with the American armed forces, produced 400,000 feet of war propaganda films between 1942 and 1945,[155] including Der Fuehrer's Face (1943) and Education for Death (1943).[156]
Japanese anime films from the 1960s onwards addressed national memories of war. Akira (1988) moves from the atomic destruction of Hiroshima and Nagasaki to apocalyptic visions of global conflict; Grave of the Fireflies (1988) is elegiac on the effect of war on children.[157][158] Barefoot Gen (1983) portrays the bombing of Hiroshima through the eyes of a child,[159] but reviewers consider it a less well made film than Grave of the Fireflies with "stomach-churning detail" bizarrely paired with crude artwork, giving it the look of a "Saturday morning Warner Brothers cartoon".[160]
Further information: List of anti-war films
Anti-war: Lewis Milestone's All Quiet on the Western Front, 1930
The anti-war genre began with films about the First World War. Films in the genre are typically revisionist, reflecting on past events and often generically blended. Lewis Milestone's All Quiet on the Western Front (1930) was unquestionably powerful, and an early anti-war film, portraying a German point of view; it was the first film (in any genre) to win two Oscars, best picture and best director.[147] Andrew Kelly, analysing All Quiet on the Western Front, defined the genre as showing: the brutality of war; the amount of human suffering; the betrayal of men's trust by incompetent officers. War and anti-war films often prove difficult to categorize as they contain many generic ambiguities.[1] While many anti-war films criticize war directly through depictions of grisly combat in past wars, some films such as Penn's Alice's Restaurant criticized war obliquely by poking fun at such things as the draft board.[161] The number of anti-war films produced in America dipped sharply during the 1950s because of McCarthyism and the Hollywood blacklist.[162] The end of the blacklist and the introduction of the MPAA rating system marked a time of resurgence for films of all type including anti-war films in the States. Robert Eberwein names two films as anti-war classics.[163] The first is Jean Renoir's prisoner of war masterpiece[147] La Grande Illusion (The Grand Illusion, 1937). Renoir's critique of contemporary politics and ideology celebrates the universal humanity that transcends national and racial boundaries and radical nationalism, suggesting that mankind's common experiences should prevail above political division, and its extension: war.[164] The second is Stanley Kubrick's Paths of Glory (1957). The critic David Ehrenstein writes that Paths of Glory established Kubrick as the "leading commercial filmmaker of his generation" and a world-class talent. Ehrenstein describes the film as an "outwardly cool/inwardly passionate protest drama about a disastrous French army maneuver and the court-martial held in its wake", contrasting it with the "classic" All Quiet on the Western Front's story of an innocent "unstrung by the horrors of war".[165]
Mixed genres
Comedy gave scope for satire, and post-war film-makers merged comedy and anti-war sentiment in films as varied as Stalag 17 (1953) and Dr Strangelove (1964).[166] Black comedies like Mike Nichols's Catch-22 (1970), based on Joseph Heller's satirical novel about the Second World War, and Robert Altman's MASH (1970), set in Korea, reflected the attitudes of an increasingly sceptical public during the Vietnam War.[167]
Other genres were combined in Franklin J. Schaffner's Patton (1970), about real life General George S. Patton, where combat scenes were interleaved with commentary about how he waged war, showing good and bad sides to a command. It and MASH became the two most profitable war/anti-war films made up to that time,[168] and Patton won seven Academy Awards.[169]
^ Clarke's list of "notable Civil War films" is Shenandoah (1965), Gods and Generals (2003), Andersonville (1966), The Beguiled (1971), North and South (1985), and Ride with the Devil (1999).[15]
^ The other ten super-genres are action, crime, fantasy, horror, romance, science fiction, slice of life, sports, thriller, and western.[16]
^ Further, two of the aircraft are still carrying their weapons after the attack.
^ a b c Neale 2000, p. 117.
^ a b Manchel, Frank (January 1990). Film Study: An Analytical Bibliography. Fairleigh Dickinson Univ Press. p. 200. ISBN 978-0-8386-3186-7.
^ "Cinema and the Great War". AFI. Retrieved 23 June 2015.
^ Macnab, Geoffrey (20 October 2014). "Fury, film review: Brad Pitt stars as an unsympathetic hero in muted war movie". The Independent. Retrieved 5 March 2015.
^ Belton 1994, pp. 165–171.
^ Kane, 1982.
^ Kane, Kathryn. "The World War II Combat Film". In: Wes D. Gehring (ed.) Handbook of American Film Genres. New York: Greenwood Press, 1988, pp. 90-91, ISBN 978-0-313-24715-6.
^ Clarke 2006, pp. 9–10.
^ Basinger 1986, p. 23.
^ Eberwein 2005, pp. 30–31.
^ Basinger 1986, pp. 14–75.
^ Neale 2000, p. 117–121.
^ Neale 2000, p. 118.
^ Clarke 2006, pp. 227–237.
^ Clarke 2006, p. 236.
^ a b Williams 2018, Chapter 2 Movie Types and Supergenres
^ a b c d e Beevor, Antony (29 May 2018). "War films: Antony Beevor: the greatest war movie ever – and the ones I can't bear". The Guardian.
^ "The Fugitive". Silent Era. Archived from the original on 3 April 2015. Retrieved 23 June 2015.
^ Ebert, Roger. "Glory". RogerEbert.com. Retrieved 23 June 2015.
^ Jubera, Drew (9 October 1993). "Gettysburg: Ted Turner, a cast of thousands and the ghosts of the past". The Baltimore Sun. Retrieved 23 June 2015.
^ "An Occurrence at Owl Creek Bridge". Movies & TV Dept. The New York Times. 2008. Archived from the original on 23 October 2008. Retrieved 22 May 2008.
^ Erickson, Hal. "The Red Badge of Courage: Synopsis". AllMovie. Retrieved 23 June 2015.
^ "Shenandoah: article". Turner Classic Movies. Archived from the original on 23 June 2015. Retrieved 23 June 2015.
^ "The Filmmakers: Ken Burns". PBS. Retrieved 23 June 2015.
^ Eberwein 2010, p. 5.
^ "World War I: Siege Of Przemysl". Archived from the original on 2021-11-10. Retrieved 6 March 2015.
^ Hal Erickson (2015). "Movies: The Battle and Fall of Przemysl (1915)". Movies & TV Dept. The New York Times. Archived from the original on 2015-04-02. Retrieved 6 March 2015.
^ "Film News from Foreign Parts", Motion Picture News 11 March 1916 accessed 23 November 1916
^ Smither, R.B.N. (2008). The Battle of the Somme (DVD viewing guide) (PDF) (2nd rev. ed.). Imperial War Museum. ISBN 978-0-90162-794-0.
^ Stock, Francine. "Why was the Battle of the Somme film bigger than Star Wars?". BBC. Retrieved 29 June 2016.
^ Suid 2002, pp. 24–26.
^ Oldfield, Barney (1991). "'WINGS' A Movie and an Inspiration". Air Power History. 38 (1): 55–58.
^ "The 1st Academy Awards : 1929". Oscars.org. Retrieved 23 June 2015.
^ a b "Lawrence of Arabia (1962)". British Film Institute. Archived from the original on 12 July 2012. Retrieved 9 March 2015.
^ Fahy, Patrick (4 April 2014). "Lawrence of Arabia: 50 years ago". British Film Institute. Retrieved 9 March 2015.
^ "Oh! What a Lovely War (1969)". British Film Institute. Archived from the original on 12 July 2012. Retrieved 9 March 2015.
^ "War Horse (2011)". British Film Institute. Archived from the original on 4 August 2012. Retrieved 9 March 2015.
^ David H. Mould, and Charles M. Berg, "Fact and Fantasy in the Films of World War One," Film & History (1984) 14#3 pp 50-60
^ Pääkirjoitus: Kansalaissota on arka muistettava (in Finnish)
^ Punaisten ja valkoisten perintöä vaalitaan yhä – Suomalaiset lähettivät yli 400 muistoa vuoden 1918 sisällissodasta (in Finnish)
^ "1918". Film Affinity. Retrieved 5 May 2020.
^ Aro, Tuuve (November 29, 2007). "Raja 1918". MTV3.fi (in Finnish). Bonnier Group. Retrieved September 3, 2012.
^ "Raja 1918-elokuva eurooppalaisilla elokuvafestivaaleilla" (in Finnish). Embassy of Finland, Kiev. Retrieved September 3, 2012.
^ "Lehti: Käsky-elokuvassa miesten välistä seksiä". MTV3.fi (in Finnish). August 13, 2008. Retrieved February 23, 2012.
^ Larsen, Mads (2020). "Agreeing on History: Adaptation as Restorative Truth in Finnish Reconciliation". Literature/Film Quarterly. 48 (1 (Winter 2020)). Retrieved 21 May 2021.
^ a b c "Franco, Fascists, and Freedom Fighters: The Spanish Civil War on Film". Harvard Film Archive. 2015. Archived from the original on 2015-03-07. Retrieved 11 March 2015.
^ Pulver, Andrew (29 March 2011). "A short history of Spanish cinema". The Guardian. Retrieved 11 March 2015.
^ "Berlinale 1966: Prize Winners". Retrieved 11 March 2015.
^ Westwell 2006, pp. 51–53.
^ West, Philip; Sŏ, Chi-mun (1 January 2001). Remembering the "Forgotten War": The Korean War Through Literature and Art. M.E. Sharpe. p. 127. ISBN 978-0-7656-0696-9.
^ Paquet, Darcy. "South Korean Films About the Korean War (1950–53): A Tool for Reference". Koreanfilm.org. Retrieved 6 March 2015.
^ Schönherr, Johannes (2012). North Korean Cinema: A History. Jefferson, N.C.: McFarland. ISBN 978-0-786-46526-2. pp. 4, 29–31
^ de Wilde, Gervase. "The Battle of Algiers, DVD review". The Telegraph. Archived from the original on 2022-01-12. Retrieved 11 March 2015.
^ Matthews, Peter (9 August 2011). "The Battle of Algiers: Bombs and Boomerangs". Criterion. Retrieved 11 March 2015.
^ a b c d e Neale 2000, pp. 121–124.
^ Basinger 1986, pp. 212–213.
^ "The Abandoned Field-Free Fire Zone (Canh dong hoang)". University of California, Berkeley Art Museum & Pacific Film Archive. Archived from the original on 2015-04-02. Retrieved 10 March 2015.
^ "KVIFF programme – Remake". Kviff. Retrieved 25 August 2015.
^ "CIFF: "Remake"". Cleveland Film. Retrieved 26 August 2015.
^ a b Schwerdtfeger, Conner (19 January 2016). "The 10 Best Post 9/11 War Movies, Ranked". CinemaBlend. Retrieved 5 January 2021.
^ Murphy 2005, p. 64.
^ a b c Swann, Paul (1989). The British Documentary Film Movement, 1926–1946. Cambridge University Press. pp. viii, 150–173. ISBN 978-0-521-33479-2.
^ a b c Manning, Martin J. (2004). Historical Dictionary of American Propaganda. Greenwood Publishing Group. pp. 86–87. ISBN 978-0-313-29605-5.
^ Hal Erickson (2007). "Mrs. Miniver (1942)". Movies & TV Dept. The New York Times. Archived from the original on 23 October 2007. Retrieved 7 March 2015.
^ Edge of Darkness at the TCM Movie Database
^ The North Star at the TCM Movie Database
^ Guadalcanal Diary at the TCM Movie Database
^ Orriss 1984, pp. 93–100.
^ They Were Expendable at the TCM Movie Database
^ "Moscow Strikes Back". Artkino Pictures. 1942. Retrieved 17 March 2015.
^ T.S. (17 August 1942). "Movie Review: Moscow Strikes Back (1942) 'Moscow Strikes Back,' Front-Line Camera Men's Story of Russian Attack, Is Seen at the Globe". The New York Times. Retrieved 18 March 2015.
^ Beevor, Antony (1999) [1998]. Stalingrad. Penguin. pp. 350–351. ISBN 0-140-24985-0.
^ a b c Basinger, Jeanine (1998). "Translating War: The Combat Film Genre and Saving Private Ryan". Perspectives on History. American Historical Association (October 1998). Retrieved 7 March 2015.
^ Herzstein, Robert E (1979). The War that Hitler Won. Hamish Hamilton. p. 281. ISBN 0-399-11845-4.
^ "Kolberg". FilmPortal.de. Retrieved 13 March 2015.
^ Leiser, Erwin (1974). Nazi Cinema. Macmillan. pp. 122–129. ISBN 0-02-570230-0.
^ High, Peter B (2003). The Imperial Screen: Japanese Film Culture in the Fifteen Years' War, 1931–1945. Madison: University of Wisconsin Press. ISBN 0-299-18130-8. esp. Ch. 5 War Dramas in the China Incident
^ Calichman, Richard (2008). Overcoming Modernity: Cultural Identity in Wartime Japan. Columbia University Press. p. 174. ISBN 978-0-231-14396-7. Even though Japanese film techniques were basically learned from American and Soviet films, most of what has been expressed through these techniques has been fake, showing neither real Japanese customs nor the Japanese heart.
^ Dower 1993, p. 48.
^ a b c Pulver, Andrew (17 July 2014). "Why are we so obsessed with films about the second world war?". The Guardian. Retrieved 7 March 2015.
^ a b Mayer 2003, p. 83.
^ A. W. (11 August 1953). "The Cruel Sea (1953) The Screen in Review; Monsarrat's 'The Cruel Sea,' a Graphic Record of Valor, Opens at Fine Arts". The New York Times. Retrieved 14 March 2015.
^ "From London". The Mail (Adelaide). National Library of Australia. 9 January 1954. p. 50. Retrieved 10 July 2012.
^ "'The Dam Busters'." Times [London, England], 29 December 1955, p. 12 via The Times Digital Archive. Retrieved: 11 July 2012.
^ "The Dam Busters (1954)". Rotten Tomatoes. Retrieved 8 March 2015.
^ John Ramsden (2003). The Dam Busters: A British Film Guide. I.B.Tauris. p. 118. ISBN 978-1-86064-636-2.
^ Monaco 1992, p. 96.
^ Wojik-Andrews 2002, p. 76.
^ DiLeo 2010, p. 196.
^ a b Suid 2002, pp. 116–135.
^ Goebel, Greg (1 March 2015). "The Mitsubishi A6M Zero". Retrieved 15 March 2015. A large number of flyable Zero replicas exist. These were modified from North American AT-6 Texans for the 1969 movie "TORA TORA TORA", about the Japanese attack on Pearl Harbor. The replicas are surprisingly convincing, though they are still clearly fakes, since the Texan is a chubbier aircraft than the slender Zero. 25 of these bogus Zeroes were built
^ "The Longest Day (1962) Awards". Turner Classic Movies, A Time Warner Company. Retrieved 7 March 2015.
^ a b Parish 1990, pp. 411–412.
^ Orriss 1984, pp. 194–195.
^ Ebert, Roger (12 October 1970). "Tora! Tora! Tora! (review)". Chicago Sun-Times. Archived from the original on 11 March 2013. Retrieved 15 March 2015.
^ Canby, Vincent (4 September 1970). "Movies: Tora! Tora! Tora! (1970)". The New York Times. Retrieved 15 March 2015.
^ Dolan 1985, p. 87.
^ Scott, A. O. (25 May 2001). "'Pearl Harbor': War Is Hell, but Very Pretty". New York Times. Retrieved 8 March 2015.
^ Bender 2013, p. ix.
^ Stein, Howard F. (2004). Beneath the Crust of Culture: Psychoanalytic Anthropology and the Cultural Unconscious in American Life. Rodopi. p. 6. ISBN 90-420-0818-0. Chris Vognar writes: Saving Private Ryan wasn't just a great movie: it was also the cultural touchstone for the country's revived interest in World War II.
^ Holden, Stephen (24 May 1995). "Stalingrad (1992) Film Review; In War's Horrors, Chaos May Rank With Carnage". New York Times. Retrieved 8 March 2015.
^ Suid 2002, pp. 161–209.
^ a b Rayner 2007, pp. 1–2.
^ Suid 2002, p. 609.
^ Ye, Tan; Zhu, Yun (2012). Historical Dictionary of Chinese Cinema. Rowman & Littlefield. pp. 168–169. ISBN 978-0-8108-6779-6.
^ Li, Peter. Japanese War Crimes: The Search for Justice. Transaction Publishers. pp. 204–223. ISBN 978-1-4128-2683-9.
^ "The story behind Chinese war epic The Flowers of War". BBC. Retrieved 10 March 2015.
^ Hal Erickson (2015). "Doea Tanda Mata (1986)". Movies & TV Dept. The New York Times. Archived from the original on 3 April 2015. Retrieved 13 March 2015.
^ a b Heider 1991, pp. 99–107.
^ Parrot, John (9 February 2011). "Review: Red and White (Merah Putih)". The Film Review. Retrieved 11 March 2015.
^ Schultz 2007, p. 133.
^ Youngblood 2010, pp. 234–235, passim.
^ Smorodinskaya, Tatiana; Evans-Romaine, Karen; Goscilo, Helena, eds. (28 October 2013). Encyclopaedia of Contemporary Russian Culture. Routledge. p. 205. ISBN 978-1-136-78785-0.
^ Stites 1992, pp. 113–114.
^ "See The War With Russian Eyes: Soviet And Russian Films About World War 2". The Embassy of the Russian Federation to the United Kingdom of Great Britain and Northern Ireland. The Ministry of Foreign Affairs of Russia. 2012. Retrieved 9 March 2015.
^ Tam, Tsu & Wilson 2014, p. 108, passim.
^ a b c USNI Staff (14 April 2014). "Through Japanese Eyes: World War II in Japanese Cinema". United States Naval Institute. Retrieved 8 March 2015.
^ High, Peter B. (2003). The Imperial Screen: Japanese Film Culture in the Fifteen Years' War, 1931–1945. Wisconsin Studies in Film. Madison: University of Wisconsin Press. p. xxvi. ISBN 978-0-299-18130-7.
^ Goto, Ken'ichi (2003). Tensions of Empire: Japan and Southeast Asia in the Colonial and Postcolonial World. Athens, Ohio: Ohio University Press. p. 273. ISBN 978-0-89680-231-5.
^ Kevin Ma (February 13, 2014). "Eternal Zero tops Japan B.O. for 8th week". Film Business Asia. Archived from the original on 2014-02-21. Retrieved February 13, 2014.
^ Mark Schilling (3 May 2014). "Japanese Pic 'Eternal Zero' Wins Italy's Udine Audience Prize". Variety. Retrieved 12 March 2015.
^ Lee, Maggie (7 February 2014). "Film Review: 'The Eternal Zero'". Variety. Retrieved 12 March 2015.
^ "The Art of Wartime Newsreels – 1940 through 1946". 1940s.org. Retrieved 8 March 2015.
^ "German Wartime Newsreels (Die Deutsche Wochenschau)". International Historic Films. Archived from the original on 2015-04-02. Retrieved 8 March 2015.
^ "Wartime Newsreel British News Now Online". British Universities Film & Video Council. Retrieved 8 March 2015.
^ Rastegar, Kamran (2015). Surviving Images: Cinema, War, and Cultural Memory in the Middle East. Oxford University Press. p. 213. ISBN 978-0-19-939017-5.
^ Hoberman, J. "Alexander Nevsky". Criterion. Retrieved 4 March 2015.
^ Anderson, Kyril (2005). Kremlevskij Kinoteatr. 1928–1953: Dokumenty. Rospen Press. p. 539. ISBN 978-5-8243-0532-6.
^ Lysy, Craig (9 November 2015). "Alexander Nevsky – Sergei Prokofiev | 100 Greatest Scores of All Time". Movie Music UK. Composer André Previn once remarked that Prokofiev's music for Alexander Nevsky was 'the greatest film score ever written, trapped inside the worst soundtrack ever recorded.'
^ "Watch It for the Soundtrack: 'Alexander Nevsky'". NPR. 10 February 2008. SEABROOK: The most exciting film music of all, Prokofiev. KORNBLUTH: Because it's so completely matches sound to image that you'll only have to hear that to know what you're seeing.
^ Merritt, Russell (1994). "Recharging "Alexander Nevsky": Tracking the Eisenstein-Prokofiev War Horse". Film Quarterly. 48 (2): 34–47. doi:10.1525/fq.1994.48.2.04a00050. JSTOR 1213094.
^ "mindupper.com". Ruscico.com. Archived from the original on 2017-04-19. Retrieved 4 March 2015.
^ Silver, Charles (7 June 2011). "Why We Fight: Frank Capra's WWII Propaganda Films". Museum of Modern Art (MoMA).
^ Murphy 2005, pp. 61–62.
^ a b "World War II Movies – Propaganda and Patriotism". Retrieved 8 March 2015.
^ German, Kathleen (1990). "Frank Capra's Why We Fight Series and the American Audience". Western Journal of Speech Communication. 54 (2): 237–48. doi:10.1080/10570319009374338.
^ a b "The Fort Devens Collection". Harvard Film Archive. Archived from the original on 2015-03-07. Retrieved 12 March 2015.
^ Koldau, Linda Maria (2010). "Sound effects as a genre-defining factor in submarine films". MedieKultur. 26 (48): 18–30. doi:10.7146/mediekultur.v26i48.2117.
^ "Duel to the Death". New York Times. 26 December 1957. Retrieved 8 March 2015.
^ Crowther, Bosley (28 March 1958). "Run Silent Run Deep (1958)". New York Times. Retrieved 8 March 2015.
^ a b c d e Wigley, Samuel. "10 great prisoner-of-war films". British Film Institute. Retrieved 6 March 2015.
^ O'Neill, Esther Margaret (October 2006). "British World War Two Films 1945–65: Catharsis or National Regeneration?" (PDF). University of Central Lancashire (PhD Thesis). pp. 57 and passim.
^ MacKenzie, S. P. (2004). The Colditz Myth British and Commonwealth Prisoners of War in Nazi Germany. Oxford University Press. p. 20 and passim. ISBN 978-0199262106. stung by criticism of the schoolboyish tone of his original account ... Reid ...
^ "Charlie Chaplin goes to War". RRCHNM. Archived from the original on 2015-03-16. Retrieved 6 March 2015.
^ a b c Thrift, Matthew (1 July 2014). "10 great First World War films". British Film Institute. Retrieved 6 March 2015.
^ Strauss, Theodore (14 February 1941). "At Loew's State". New York Times.
^ Erickson 2012, pp. passim.
^ Theisen, Earl (1967) [1933]. "The History of the Animated Cartoon". In Fielding, Raymond (ed.). A Technological History of Motion Pictures and Television. University of California Press. pp. 84–87. ISBN 978-0-520-00411-5.
^ Mikulak, Bill (Spring 1997). "Mickey Meets Mondrian: Cartoons Enter the Museum of Modern Art". Cinema Journal. University of Texas Press. 36 (3): 56–72. doi:10.2307/1225675. JSTOR 1225675.
^ Wells, Paul (2002). Animation: Genre and Authorship. Wallflower Press. p. 116. ISBN 978-1-903364-20-8.
^ Churchill, Edward (March 1945). "Walt Disney's Animated War". Flying. 36 (3): 50–51, 134–138.
^ Shull, Michael S.; Wilt, David E. (2005). Doing Their Bit: Wartime American Animated Short Films, 1939–1945 (2nd ed.). Jefferson, North Carolina: McFarland and Company. p. 60. ISBN 978-0-7864-1555-7.
^ Singleton, Jack (23 August 2011). "Japanese Animation, the Pacific War and the Atomic Bomb". Impact, University of Nottingham. Retrieved 11 March 2015.
^ Napier 2005, pp. 1–3.
^ Masaki, Mori (13 June 1992). "Barefoot Gen". Issei Miyazaki, Catherine Battistone, Yoshie Shimamura. Retrieved 1 November 2017.
^ See, Raphael. "Barefoot Gen". T.H.E.M. Anime Reviews. Retrieved 12 March 2015.
^ Paris, Michael (4 April 1987). "The American Film Industry & Vietnam". History Today. 37 (4).
^ Smith, Jeff (2014). "Reading the Hollywood Reds". Film Criticism, the Cold War, and the Blacklist. University of California Press. ISBN 978-0-520-95851-7. JSTOR 10.1525/j.ctt6wqb6x.
^ Stephen Pendo, Aviation in the Cinema (1985) p. 107.
^ Ehrenstein, David (25 June 1989). "Paths of Glory". The Criterion Collection. Retrieved 8 March 2015.
^ Erickson 2012, pp. 314–368.
^ Bozzola, Lucia (2013). "Movies: Catch-22 (1970)". Movies & TV Dept. The New York Times. Archived from the original on 10 November 2013. Retrieved 10 March 2015.
^ "The 43rd Academy Awards (1971) Nominees and Winners". Retrieved 8 March 2015.
Basinger, Jeanine (1986). World War II Combat Film: The Anatomy of a Genre. Columbia University Press. ISBN 978-0-231-05952-7.
Belton, John (1994). American Cinema/American Culture. McGraw-Hill. ISBN 978-0-07-004466-1.
Bender, Stuart (2013). Film Style and the World War II Combat Genre. Cambridge Scholars Publishing. ISBN 978-1-443-84336-2.
Clarke, James (2006). War Films. Virgin Books. ISBN 978-0-753-51094-0.
DiLeo, John (October 2010). Tennessee Williams and Company: His Essential Screen Actors. Hansen Publishing Group LLC. ISBN 978-1-60182-425-7.
Dolan, Edward F. Jr. (1985). Hollywood Goes to War. Bison Books. ISBN 0-86124-229-7.
Dower, John (1993). "Japanese cinema goes to war". In Dower, John (ed.). Japan in War and Peace: Selected Essays. NY: New Press. pp. 33–54. ISBN 1565840674.
Eberwein, Robert T. (2005). The War Film. Rutgers University Press. ISBN 0813534968.
Eberwein, Robert T. (2010). The Hollywood War Film. Wiley-Blackwell. ISBN 9781405173919.
Erickson, Hal (2012). Military Comedy Films: A Critical Survey and Filmography of Hollywood Releases Since 1918. McFarland. ISBN 978-0-786-46290-2.
Heider, Karl G. (1991). Indonesian Cinema: National Culture on Screen. University of Hawaii Press. ISBN 978-0-8248-1367-3.
Mayer, Geoff (2003). Guide to British Cinema. Greenwood Publishing Group. ISBN 978-0-313-30307-4.
Monaco, James (1992). The Movie Guide. Perigee Books. ISBN 978-0-399-51780-8.
Murphy, Robert (2005). British Cinema and the Second World War. A&C Black. ISBN 978-0-8264-7897-9.
Napier, Susan (2005). "World War II as Trauma, Memory and Fantasy in Japanese Animation". The Asia-Pacific Journal: Japan Focus (1972).
Neale, Stephen (2000). War Films. Genre and Hollywood. Psychology Press. pp. 117–124. ISBN 978-0-415-02606-2.
Orriss, Bruce (1984). When Hollywood Ruled the Skies: The Aviation Film Classics of World War II. Aero Associates. ISBN 096130880X.
Parish, James Robert (1990). The Great Combat Pictures: Twentieth-Century Warfare on the Screen. Scarecrow Press. ISBN 978-0-8108-2315-0.
Rayner, Jonathan (2007). The Naval War Film: Genre, History and National Cinema. Manchester University Press. ISBN 978-0-7190-7098-3.
Schultz, Deanne (2007). Filmography of World History. Greenwood Press. ISBN 978-0-313-32681-3.
Stites, Richard (1992). Russian Popular Culture: Entertainment and Society Since 1900. Cambridge University Press. ISBN 978-0-521-36986-2.
Suid, Lawrence H. (2002). Guts & Glory: The Making of the American Military Image in Film (2nd ed.). University Press of Kentucky. ISBN 978-0-813-19018-1. (revised ed. 2015, ISBN 978-0-813-15808-2)
Tam, King-fai; Tsu, Timothy Y.; Wilson, Sandra (2014). Chinese and Japanese Films on the Second World War. Routledge. ISBN 978-1-317-65046-1.
Westwell, Guy (2006). War Cinema: Hollywood on the Front Line. Wallflower. ISBN 9781904764540.
Williams, Eric (2018). The Screenwriters Taxonomy: a Roadmap to Collaborative Storytelling. Routledge. ISBN 978-1-315-10864-3. OCLC 993983488.
Wojik-Andrews, Ian (2002). Children's Films: History, Ideology, Pedagogy, Theory. Routledge. ISBN 978-1-135-57661-5.
Youngblood, Denise J. (2010) [2006]. Russian War Films: On the Cinema Front, 1914–2005. University Press of Kansas. ISBN 978-0-700-61761-6.
Castellan, James W.; van Dopperen, Ron; Graham, Cooper C. (2014). American Cinematographers in the Great War, 1914-1918. New Barnet. ISBN 978-0861967179.
DeBauche, Leslie Midkiff (1997). Reel Patriotism: the Movies and World War I. University of Wisconsin Press. ISBN 0299154009.
Kane, Kathryn R. (1982). Visions of War: Hollywood Combat Films of World War II. UMI Research. ISBN 0-835-71286-9.
Lim, Song Hwee; Ward, Julian (2011). The Chinese Cinema Book. Palgrave Macmillan. ISBN 978-1-84457-580-0.
Slater, Jay (2009). Under Fire: a century of war movies. Ian Allan Publishing. ISBN 978-0-711-03385-6.
Stites, Richard (1995). Culture and Entertainment in Wartime Russia. Indiana University Press. ISBN 025335403X.
Taylor, Mark (2003). The Vietnam War in History, Literature, and Film. University of Alabama Press. ISBN 0817314016.
Imperial War Museum: First World War Film Collection
"Mobilizing Movies! The U.S. Signal Corps Goes to War, 1917-1919". Documentary on the U.S. film effort during the First World War (2017)
Archived 2015-06-27 at the Wayback Machine
Michael Wilmington & Dann Gire: World on War: A Film Discussion
British Film Institute: 10 great battleship and war-at-sea films
Film genres
Heroic bloodshed
Hong Kong action
Commedia all'italiana
Bromantic
Dramedy
Gross out
Mo lei tau
Docudrama
Calligrafismo
Commedia sexy all'italiana
Social guidance
Sword-and-sandal
see Exploitation film template
Neo-noir
Pulp noir
Tech noir
Chinese horror
German underground
Korean horror
Lovecraftian
Mumblegore
New French Extremity
Psycho-biddy
Maximalist film
Minimalist film
Sceneggiata
Occult detective
Pop culture fiction
Hardcore pornography
Softcore pornography
Planetary romance
Slow cinema
Cinema of Transgression
Extreme cinema
Body swap
Buddy cop
Gokudō
Gong'an
Mafia comedy
Mumbai underworld
Poliziotteschi
Ethnographic
Mexploitation
Turksploitation
Gendai-geki
Goona-goona epic
Girls with guns
Tentacle erotica
Jidaigeki
Kaitō
Bruceploitation
Chopsocky
Gun fu
Jiangshi
Mouth of Garbage
Muslim social
Outlaw biker
Partisan film
Rubble
Bavarian porn
Mexican sex comedy
Nazi exploitation
Pornochanchada
Sex report
Shomin-geki
South Seas
Eurospy
Swashbuckler
Euro War
Meat pie
By movement
or period
American Eccentric Cinema
New Objectivity
Australian New Wave
Auteur films
Berlin School
Bourekas
British New Wave
Kitchen sink realism
Budapest school
Cannibal boom
Cinéma du look
Cinema Novo
Cinéma pur
Czechoslovak New Wave
Documentary Film Movement
Dogme 95
Erra Cinema
European art cinema
Film gris
Free Cinema
French New Wave
German Expressionist
German underground horror
Nigerian Golden Age
Grupo Cine Liberación
Hollywood on the Tiber
Hong Kong New Wave
Iranian New Wave
Italian futurist
Italian neorealist
Japanese New Wave
Kammerspielfilm
L.A. Rebellion
Lettrist
Modernist film
Neorealist
New German
New Nollywood
New Queer
Nuevo Cine Mexicano
Pan-India films
Parallel cinema
Persian Film
Poetic realist
Polish Film School
Praška filmska škola
Prussian film
Pure Film Movement
Remodernist
Romanian New Wave
Socialist realist
Social realist
Soviet Parallel
Telefoni Bianchi
Third Cinema
Toronto New Wave
Vulgar auteurism
Yugoslav Black Wave
By demographic
Shōnen
Shōjo
Chick flick
By format,
technique,
approach,
or production
Black-and-white
Cinéma vérité
Classical Hollywood cinema
Computer screen
midnight movie
Database cinema
Docufiction
Ethnofiction
Film à clef
Film-poem
Hyperlink cinema
Guerrilla filmmaking
Interstitial art
Low-budget
Major studio
Message picture
Meta-film
Mockbuster
Musical short
Participatory
Postmodernist
Reverse motion
Semidocumentary
Shinpa
Z movie
Film portal
Works about wars
Documentary films about war


text:
The ancient Egyptian Mast hieroglyph is one of the oldest language hieroglyphs from Ancient Egypt. It is used on a famous label of Pharaoh Den of the First dynasty, but forms part of the location hieroglyph: Emblem of the East.

Nectanebo II's obelisk uses the Mast hieroglyph when describing the construction of his obelisk; in a S-Egyptian emphatic word construct he adds a vertical S, the folded cloth, Gardiner no. S29, S29, at the beginning of the word "to erect". (see here, high res: , low res: )

The Ship's Mast hieroglyph is used as a triliteral phonetic hieroglyphic to represent the sound sequence ꜥḥꜥ, which means "to stand erect", or "to stand vertical"; its use is extensive throughout the language history, and hieroglyphic tomb reliefs and story-telling of Ancient Egypt. It is possibly a forerunner hieroglyph kh3 , the sun rising upon the horizon.

In the 198 BC Rosetta Stone, the ship's mast hieroglyph has the unique usage in the final line of the Ptolemy V decree: the mast is used twice-(adjective, verb):
engrave the decree..: "...upon a vertical-(mast) stone stele"..in the 3-language scripts, .."Shall be made to stand it in the sanctuaries in temples all..."

See also

Gardiner's Sign List#P. Ships and Parts of Ships
Gardiner's Sign List#U. Agriculture, Crafts, and Professions
List of Egyptian hieroglyphs by common name: M-Z
 Mast

References
Budge.  An Egyptian Hieroglyphic Dictionary, E.A.Wallace Budge, (Dover Publications), c 1978, (c 1920), Dover edition, 1978. (In two volumes) (softcover, )
Budge.  The Rosetta Stone,'' E.A.Wallace Budge, (Dover Publications), c 1929, Dover edition(unabridged), 1989. (softcover, )

Egyptian hieroglyphs: arts and trades
Egyptian hieroglyphs: ships and parts of ships

redpajama_set_name: RedPajamaWikipedia


text:
Dein erstes Forum » workouts that the open-heart surgery survivors
Online-Spiele Tips & Tricks » Deine erste Kategorie » Dein erstes Forum » workouts that the open-heart surgery survivors
#1 | workouts that the open-heart surgery survivors 28.08.2019 07:52
OAKLAND, Calif. - Jordan Lyles was more nervous watching the last two innings than he was pitching the first seven. He finally relaxed after Chia-Jen Lo got the final out. Lyles won for the first time in nearly two months, Brandon Barnes doubled twice and drove in two runs, and the Houston Astros beat the Oakland Athletics 5-4 Tuesday night to snap a six-game losing streak. "It was nerve-racking in here watching the game," Lyles said. "Me and a few other guys were going a little crazy. Its way more nerve-racking to watch a game youve pitched in than to be out there." Lyles had to wait out a possible game-winning home run before he could breathe easy. With a runner on first base in the ninth, Chris Young hit an 0-1 pitch from Lo down the left field line. The ball curved just outside the foul pole and third base umpire Doug Eddings immediately ruled it foul. After As manager Bob Melvin came out to argue the call, the four umpires went underneath the stands to review the play before confirming the original ruling. "I was able to see it a couple times on replay and knew we were OK," Lyles said. Juan Castro singled in the fifth to extend his hitting streak to a career-high 11 games, scored a run and added a sacrifice fly for Houston. Matt Dominguez added two hits, including one of four doubles off As starter Bartolo Colon, who lost in his second bid to become the first pitcher in major league history to win 15 games with four American League teams. "I knew if the ball goes foul, we had a chance to win," Barnes said. "Any time you put up a good game, beat up the starting pitcher a little bit and get into the bullpen, you have a chance." The Astros had dropped 11 of the first 12 games this season between the division rivals before knocking Colon (14-5) out of the game early and holding off a late rally. "The first couple of times we faced him we were still trying to figure him out," Barnes said. "It definitely helped to have seen him before." Lyles (5-6) sailed through his first career appearance against the As. He gave up five hits, allowed only one runner past second base and got Oakland to ground into two double plays. That ended an eight-start winless skid for the Houston right-hander, who had been 0-5 since his last victory on June 18. "Its been awhile for me personally," Lyles said. "It was nice to get seven innings. I havent done that for a while. Overall I was attacking the zone, keeping the ball down." Houstons bullpen made Lyles sweat it out. Lo recorded the final four outs for his first career save. Barnes got into a lengthy battle with Colon in the second before doubling in Castro and Dominguez to put the Astros up 2-0. After Castro and former As first baseman Chris Carter drove in runs in the third, Barnes doubled again leading off the fourth and scored on a double play to make it 5-0. NOTES: Eight of Houstons nine starters had at least one hit. ... Castro returned to the Astros lineup after sitting out two games with a hip injury. ... The Astros sent RHP Jorge DeLeon to Triple-A Oklahoma City after the game and recalled IF Marwin Gonzalez. ... Barnes was 3 for 27 entering the night. Wil Myers Jersey . While hell be dialed in to that tournament on a course he loves, you can forgive him if his eyes glance down the calendar just a bit, towards April. Johnny Manziel Jersey . LUCIE, Fla. http://www.padressale.com/padres-trevor-hoffman-jersey/ .35 million, one-year contract that avoided salary arbitration. Plouffe batted .254 with 14 home runs and 52 RBIs in 477 at-bats last season, his second as a regular in the lineup. Austin Hedges Jersey . Jordan Lynch, the all-purpose Heisman Trophy finalist from Northern Illinois, failed to make it into that exclusive club. Greg Garcia Jersey . -- There were so many positives from the Orlando Magics first victory of the season that it was hard for coach Jacque Vaughn to stop praising his players. It was December 19th, 2015, when Deb Schelebo introduced herself to the group. I was born with a heart murmur, she said. It eventually led to a diagnosis of severe aortic stenosis when I passed out after a series of double-under attempts. My big dilemma now is sitting quietly for the mid-January surgery, and what type of valve to use.Schelebo, 56, a member at CrossFit 380 in McKinney, Texas, couldnt believe the responses she got from her post in the I Heart CrossFit Facebook group. After a warm and rousing welcome, the members offered her advice and input on the pros and cons of mechanical, bovine and pig valves, and assured her that whichever she chose, she could and would not only recover, but also return to CrossFit.The group gave me the confidence I needed to go forward with my surgery, Schelebo says. It was extraordinarily helpful to have these people to talk to. They were total strangers, but they had gone through the same thing I was going through and had their chests cracked open. It was amazing to know they were CrossFitters like me and they were all able to go back to it.The CrossFit community is what separates it from other forms of fitness training. Naysayers call it cultish, but those who within it thrive on the support. The I Heart CrossFit group, started by D.J. Forsyth, a CrossFit Games regional competitor and owner of CrossFit PRx in Spring, Texas, is an online extension of a subset of that community.Forsyth had his faulty aortic valve replaced with a mechanical one in December of 2013. Terrified he would never be able to CrossFit again, he Googled CrossFit and OHS. After sifting through hundreds of search results on how to improve his overhead squat, Forsyth came across a 2012 espnW story on Ingrid Kantola, a fellow regional competitor and owner of CrossFit Jaakaru in nearby Austin. Kantola had open-heart surgery in May of 2010 to repair damage done to her heart by endocarditis, an infection that literally shredded her mitral valve. But because Kantolas zipper scar runs horizontally under her sports bra line, as opposed to the more customary -- and more visible -- vertical scar, Forsyth never knew. He reached out on Facebook, and the two became fast friends.With many pep-talks from Kantola, Forsyth made a speedier-than-most recovery and competed in the CrossFit open in March of 2014, when a story about him appeared on CrossFits official website. He began receiving Facebook messages from CrossFitters across the country who were also dealing with heart problems. He started the group, added the eight CrossFitters who had messaged him to it, and described it as a little group of us that have had or might one day need to have heart surgery.The group is no longer so little. There are now 81 members, stretching from Australia to Austin. Each member has had or is waiting to have open-heart surgery. And each one is a CrossFitter.Young, active people like us are not the typical demographic for heart surgery, Forsyth says. Its so cool to watch our group grow and see people communicate on thhere and help each other.ddddddddddddne of those members is Asha Purohit, 27, of CrossFit Soda City in Columbia, South Carolina. Purohit had always known she had a bicuspid aortic valve, but didnt develop symptoms until the age of 25.?During the summer of 2014, Purohit developed pain in her neck and jaw and began to feel out of breath and faint. She was diagnosed with an aortic aneurysm (an enlargement of the aorta) and underwent open-heart surgery in August of 2014.Shortly after, she found the I Heart CrossFit group where she, too, told her story. Purohit became so comfortable with the group that when she had a bout with pericarditis (an inflammation of the tissue around her heart) a few months after surgery, she turned immediately to I Heart CrossFit. The first thing I did when I got the diagnosis was get on the Facebook group, she says. I felt defeated and I didnt know what to do, and I knew they would understand in a way no one else would, because theyve all been there in some way or another.Like most of the CrossFitters in the group, Purohit got conflicting information from doctors as to whether she could or should continue her CrossFit training after her surgery. But Dr. John Ikonomidis, her cardiac surgeon at the Medical University of South Carolina, assured her that they did the surgery so she could live without restrictions and gave her the all-clear three months after the operation.The conservative treatment stance with regard to activity thats voiced by some cardiologists is not entirely inappropriate, but having said this, I honestly think its safe for Asha to continue, Ikonomidis said. The heart itself is undamaged from the operation and the heart muscle still responds the same way to exercise.And so does the mind. The confidence that comes from being able to complete workouts that the open-heart surgery survivors did before surgery is energizing and empowering -- and doubly so when they begin making improvements on their pre-surgery benchmarks. Members of the group proudly share their triumphs, and whenever members have setbacks or questions, the group is always there.They discuss how much weight to lift overhead and how to keep power cleans from irritating a still-healing incision. They post photos of their zipper scars and their squat positions. They float questions to the group. Can I get a tattoo while on blood thinners? (Not advisable; infection is a bigger risk than bleeding). How do I monitor the size of a bruise? (Circle it with a Sharpie so you can see if it gets bigger.) Is it OK to hold your breath on heavy lifts? (Yes, but dont go crazy.) They donate to each others fundraisers and created an I Heart CrossFit t-shirt for the group. And they share videos of their check-up echocardiograms, so the other members can see and hear the beating of their hearts.Were all just saying, Hey! Check out my heart, says Schelebo. Because we are all still alive. ' ' '
thanks to the fact that, at 5ft 10in, he is almost alway » « orange tip marking indicating it was a BB gun.The playe

redpajama_set_name: RedPajamaCommonCrawl


Are you living in the chaos and stress of selling your home? Yes, open houses can be hectic. They cause even the most organized families to scramble and stress over the houses' appearance. But why do we have them? And if they're so important, how can you make sure your agent hosts a great one for your house?
Here are some great tips to help you support your listing agent as they host an open house for your property in Louisville, KY or elsewhere. Even though your agent will do the majority of the work, there are many things you, as the homeowner, can do to make sure your open house is a huge success!
It gives prospective buyers a chance to fully examine the house and ask questions.
If the house is staged, it gives prospective buyers an idea of what it would be like to own the house and have people in it. Familiarity with the house will produce more excitement and confidence within the buyer.
Prospective buyers are forced to acknowledge the competition (competing offers can help drive up your selling price).
Visiting a property can give prospective buyers the opportunity to check out the neighborhood and other nearby areas, which can give them more confidence in their decision to place an offer (if they decide to make an offer, it will likely be a serious one; if not, they weren't a motivated buyer anyways).
It gives you (the home seller) the chance to get away on a Sunday afternoon and do something fun, leaving the realtor to deal with all the questioning and picky home buyers. (Or you may get stuck simply driving around town for three hours with your whining, loud children, so I guess this one could go either way).
Now that we've established that having an open house IS indeed important, let's discuss how to help your agent have an awesome open house that will leave you with offers and the possibility of never having to clean that house ever again.
Clean your house (if this isn't obvious enough already). Get rid of your clutter. Put away your laundry. Make your beds. Vacuum.
Speaking of dogs…take them with you. A barking dog at an open house is not a good thing.
Don't restrict any area of your house. Yes, we know you have 27 loads of laundry that need folded that are stuffed in the upstairs closet, but if you restrict access to that closet, people will assume the worst.
Use Febreze. No one wants to live in a smelly house. You may even want to bake cookies before you leave to create a welcoming aroma for the open house guests.
Open all the blinds and turn on all the lights—the more natural light, the better.
Leave the thermostat around 70.
Make sure that you are accessible during the time of the open house. Your agent might have questions asked that only you can answer. If someone is truly interested and has serious questions, you want to be able to answer those as soon as possible.
At the end of the day, a successful open house will not only be beneficial to you, but also to the neighbors and prospective buyers. These few tips will help you help your listing agent represent your house in the best way possible. Yes, it may be a hassle, and it may take every ounce of your energy to get the kids and the dog out the door for three hours on a Sunday afternoon; just rest assured knowing it will be well worth the effort.
For more questions about selling your house, keep reading our blog, or contact LST Properties directly on our Contact Us page.
Previous PostWhat Can LST Properties Do For You? Next PostHaving an Open House? Do These 8 Things to Ensure You Receive an Offer!