A Companion to the War Film contains 27 original essays that examine all aspects of the genre, from the traditional war film, to the new global nature of conflicts, and the diverse formats that war stories assume in today's digital culture.
* Includes new works from experienced and emerging scholars that expand the scope of the genre by applying fresh theoretical approaches and archival resources to the study of the war film
* Moves beyond the limited confines of "the combat film" to cover home-front films, international and foreign language films, and a range of conflicts and time periods
* Addresses complex questions of gender, race, forced internment, international terrorism, and war protest in films such as Full Metal Jacket, Good Kill, Grace is Gone, Gran Torino, The Messenger, Snow Falling on Cedars, So Proudly We Hail, Tae Guk Gi: The Brotherhood of War, Tender Comrade, and Zero Dark Thirty
* Provides a nuanced vision of war film that brings the genre firmly into the 21st Century and points the way for exciting future scholarship
Douglas A. Cunningham is Adjunct Professor of Humanities at Brigham Young University and Adjunct Professor of Literature and Film Studies at Westminster College, USA. He is a retired U.S. Air Force officer and taught literature and film at the U.S. Air Force Academy for five years of his 20-year military career. He earned a Ph.D. in Film Studies at the University of California, Berkeley, in 2009. He is the editor of The San Francisco of Alfred Hitchcock's Vertigo: Place, Pilgrimage, and Commemoration (2011), and his essays have appeared in Screen, CineAction, The Moving Image, and Critical Survey. He is currently at work on a monograph titled, Celluloid Airmen: World War II, Hollywood, and the Army Air Force's First Motion Picture Unit.
John Nelson is an Academy Professor in the Department of English and Philosophy at the United States Military Academy, West Point, New York. He earned a doctorate in Comparative Literature from the University of Washington. He has published book chapters on Nobel laureate Derek Walcott's play Pantomime and the use of landscape in contemporary military memoirs. He has taught courses on literature, composition, film, and cultural criticism at West Point for over ten years.
Tanine Allison is Assistant Professor of Film and Media Studies at Emory University, where she teaches courses on film, video games, and digital media. She has published essays on war video games, digital realism, and motion capture in the Quarterly Review of Film and Video, Critical Quarterly, and Literature/Film Quarterly; her essays on contemporary visual effects and race in digital animation appear in two edited collections on special effects. She is currently completing a book on the aesthetics of combat in American films and video games set during World War II. Her website is www.tanineallison.com.
Kaustav Bakshi is Assistant Professor of English, Jadavpur University, Kolkata, India. A Charles Wallace fellow, he is currently pursuing his doctoral research on Sri Lankan expatriate fiction at the Department of English, Jadavpur University. He was awarded an M. Phil by the same department in 2008, and his thesis on Rohinton Mistry's fiction was extended into a University Grants Commission sponsored Minor Research Project. He has published in both national and international journals, including South Asian Review (University of Pittsburgh, 2012), New Cinemas: Journal of Contemporary Films (Intellect Books: Bristol and Wilmington, NC, 2012-13) and South Asian History and Culture (Routledge/Taylor and Francis: London, 2015). His articles have been published in several anthologies, including Muses India: Essays on English Language Writers from Mahomet to Rushdie (MacFarland: Jefferson, NC, 2013) and Gay Subcultures and Literatures: The Indian Projections (IIAS: Shimla, 2012). He has co-edited two anthologies, Anxieties, Influences and After: Critical Responses to Postcolonialism and Neocolonialism (Worldview: New Delhi, 2009) and Studies in Indian Poetry in English (Bookaway: Kolkata, 2011). His forthcoming co-edited volume Rituparno Ghosh: An Afterword with Routledge/Francis and Taylor is in press currently. He blogs at kaustavsarden.blogspot.in.
Jeanine Basinger is the Corwin-Fuller Professor of Film Studies, founder and curator of the Wesleyan Cinema Archives, Founding Chair of the Film Studies Department at Wesleyan University, and a 1996 and 2013 recipient of Wesleyan's Binswanger Prize for Excellence in Teaching. Her book Silent Stars won the National Board of Review's William K. Everson Prize, and her most recent book, The Star Machine, published by Knopf, 2007, won the Theatre Library Association Award. She is the author of numerous articles and book reviews as well as ten books on film. She is a trustee of the National Board of Review, a trustee of the American Film Institute, and a current member of Warner Brothers Theatre Advisory Committee at the Smithsonian Institute.
Laura Browder is the Tyler and Alice Haynes Professor of American Studies at the University of Richmond. Her most recent book is When Janey Comes Marching Home: Portraits of Women Combat Veterans, with photographs by Sascha Pflaeging, for which she interviewed 52 women from all branches of the military. She is also the executive producer of the PBS documentary The Reconstruction of Asa Carter, based on her book Slippery Characters: Ethnic Impersonators and American Identities. She is currently working on a documentary film called Mothers at War as well as a documentary about her grandfather, Communist Party leader Earl Browder.
Douglas A. Cunningham teaches film, literature, and humanities at Brigham Young University and Westminster College. He is a retired U.S. Air Force officer and taught literature and film at the U.S. Air Force Academy for five years of his 20-year military career. He is the editor of another essay collection, The San Francisco of Alfred Hitchcock's Vertigo: Place, Pilgrimage, and Commemoration (Scarecrow, 2011), and his other essays have appeared in Screen, CineAction, The Moving Image, Critical Survey, and as chapters in several anthologies. Many of these essays may be read under his name at www.academia.edu. Doug is currently at work on a monograph titled Celluloid Airmen: World War II, Hollywood, and the Army Air Forces First Motion Picture Unit. He earned a PhD in Film Studies at the University of California, Berkeley, in 2009.
Robert Eberwein is Distinguished Professor of English Emeritus, Oakland University. His many books include The Hollywood War Film (Wiley-Blackwell, 2009), Armed Forces: Masculinity and Sexuality in the American War Film (Rutgers, 2007), The War Film (Rutgers, 2004), and Sex Ed: Film, Video, and the Framework of Desire (Rutgers, 1999).
Kris Fallon is an Assistant Professor in Digital Cultures at the University of California, Davis, where he teaches courses on the history and theory of media in the Program in Cinema & Technoculture. Before coming to Davis, he played an active role in the early stages of both the Berkeley Center for New Media and the CITRIS Data & Democracy Initiative at UC Berkeley, where he received his PhD. His research focuses on documentary practices across photography, film, and digital media, and places established modes of representation alongside emergent media such as data visualization and virtual environments. His essays on digital technology and documentary have recently appeared in Film Quarterly and Screen and are forthcoming in several edited anthologies in Contemporary Documentary from Routledge. He is currently working on a book entitled Where Truth Lies: Digital Culture and Documentary Film after 9/11.
Anna Froula is Associate Professor of Film Studies at East Carolina University in Greenville, North Carolina. She has published on war, satire, trauma, zombies, and gender in Changing English: Studies in Culture and Education, Cinema Journal, The Journal of War and Culture Studies, In Medias Res, Globalizing Dissent: Essays on Arundhati Roy (Routledge, 2008), and Iraq War Cultures (Peter Lang, 2011). She is co-editor of Reframing 9/11: Film, Popular Culture, and the "War on Terror" (Continuum, 2010), The Cinema of Terry Gilliam: It's a Mad World (Wallflower, 2013), and American Militarism on the Small Screen (Routledge, forthcoming).
Mark Gagnon is an Academy Professor in the Department of Foreign Languages at the United States Military Academy, West Point, New York. He earned a PhD in Germanic Languages and Literatures from Harvard University.
John Garofolo is the author of Dickey Chapelle Under Fire: Photographs by the First American Female War Correspondent Killed in Action (Wisconsin Historical Society Press, 2015). A former entertainment industry executive, John is a veteran of Operation Iraqi Freedom and was on the Humanities faculty at the US Coast Guard Academy and an adjunct at Yale. He is the recipient of a grant from the Brico Fund and the Milwaukee Press Club endowment to write a play about the life of Dickey Chapelle. He holds a PhD from the University of Southern California School of Cinematic Arts.
Kevin Hamilton is Associate Professor at the University of Illinois, Urbana-Champaign, where he holds appointments in the School of Art and Design and the program in Media and Cinema Studies, and serves as Dean's Fellow for Research in the College of Fine and Applied Arts. Working in collaborative and cross-disciplinary modes, Kevin produces artworks, archives, and scholarship on such subjects as race and space, public memory, history of technology, and state violence. His articles with Ned O'Gorman on Air Force film production have appeared in Rhetoric & Public Affairs, Visual Culture, and Communication & Critical/Cultural Studies. Their book-in-progress and accompanying digital archive trace the history of the Air Force's most famous film unit, Lookout Mountain Laboratory, from 1948 through 1969. At Illinois Kevin also codirects the Center for People and Infrastructures, an effort currently focused on the ethics and civics of algorithmic culture through research, design, and outreach. Kevin's artworks in digital form have appeared in Rhizome, Turbulence, Neural, and the ASPECT DVD series. Recent commissioned artworks have included a printed mural on the history of cybernetics, and a graphic novel on race, geology, and university politics in Urbana, Illinois. More of his work can be found at complexfields.org.
Mary Elizabeth Haralovich teaches television and film history in the School of Theatre, Film & Television at the University of Arizona in Tucson. Among her studies of television are popular appeal of Magnum, P.I., geopolitics of civil rights in I Spy, and third-wave feminism in Mad Men. Her social history of the 1950s suburban family domestic comedy has been reprinted several times. Studies of the film promotion of "scandalous females" include flirting with the viewer in A Free Soul (1931), housewife/adventurer Marlene Dietrich as Blonde Venus (1932), film noir mother Mildred Pierce (1945) and the proletarian women's film, Marked Woman (1937). Co-editor of Television, History, and American Culture: Feminist Critical Essays (Duke University Press, 1999), Haralovich is a founder and Board Member of the International Conference on Television, Video, New Media, Audio and Feminism: Console-ing Passions.