By Martin Loschnigg
The First international struggle has remained the topic of prose fiction, drama, and movie throughout international locations. This quantity offers a entire foreign survey of the cultural reminiscence of the conflict as mirrored in a variety of media. It addresses the position of those media in retaining and (re)shaping the reminiscence of the struggle, emphasizing the old, socio-political, gender-oriented and post-colonial contexts of its cultural representations.
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Additional info for The Great War in Post-Memory Literature and Film
Bergonzi, Bernard. ” English Literature of the Great War Revisited: Proceedings of the Symposium on the British Literature of the First World War. Ed. Michel Roucoux. University of Picardy Press, 1986. 7–18. Confino, Alon. ” The American Historical Review 102. 5 (1997): 1386–1403. Eksteins, Modris. ” The Oxford Illustrated History of the First World War. Ed. Hew Strachan. Oxford: Oxford University Press, 1998. 305–317. Eliot, T. S. ” The Sacred Wood: Essays on Poetry and Criticism. London: Methuen, 1920.
Military historian Richard Holmes once complained that the Great War was “far too literary” a conflict (xvii), meaning not just the enduring popularity of wartime and interwar literature, but also “another burst of writing” after the Second World War (12), which gained momentum throughout the subsequent decades, producing works of fiction which by now have become canonical in Great War studies, such as Timothy Findley’s The Wars or Pat Barker’s Regeneration. However, the First World War has become as much a ‘cinematic,’ ‘televised’ and ‘theatrical’ conflict as it remains a ‘literary’ war, and one can hardly imagine studying the subject today without having seen Gallipoli, La vie et rien d’autre, Blackadder Goes Forth or Oh!
Andrew Kelly’s dismissive report on the Mann version argues that World War I films should inherently be made in black and white: “Trench combat has always been best seen in black and white: monochrome conveys the brutality and the starkness, the sheer awfulness, of the trenches and of No Man’s Land; colour seems to give it glamour” (156). Although he makes no reference to color, Scott Frisina strongly disagrees in his IMDb review. He argues that the Mann film “brilliantly captured the horror of World War I,” and that “This is a dirty film.
The Great War in Post-Memory Literature and Film by Martin Loschnigg