Look closely behind the lives of the stars who appeared in a host of legendary war films and discover how memories of their real-life experiences in the armed forces were haunted with heartbreak and yet filled with extraordinary heroism. Just what did America’s most decorated soldier Audie Murphy go through in battle which led him to star as himself in the classic war film, To Hell and Back? When the Japanese attacked Pearl Harbor in December 1941, Murphy joined the US Army aged just 17. He went on to fight at Anzio, the Colmar Pocket, and Nuremberg. And for single-handedly holding off an enemy attack he was awarded the Congressional Medal of Honor. But Murphy’s military and celebrity stardom did little to extinguish the pain of his private battle to fit in to a new post-war world he perceived as disappointing, shallow and unfulfilling. Tormented by PTSD Murphy was a man unable to escape from his past. Only the great director and decorated wartime documentary maker John Huston gained Murphy’s true respect. When war broke out on 3 September 1939, a number of British stars, including Laurence Olivier, his future wife Vivien Leigh, and David Niven, were in the United States under contract to the Hollywood Studios. Keen not to ‘shirk their duties at home’, and against advice from the British Consul, they made their way back to Blighty. Olivier joined the Royal Navy’s Fleet Air Arm as a pilot. Then with Churchill’s approval he directed and starred in powerful propaganda films, including Shakespeare’s Henry V. In 1943 the beautiful Vivien Leigh ruined her health by enduring the brutalities of the North African climate to entertain the troops in the desert. Meantime, Dirk Bogarde was a British Army intelligence officer seconded to the pioneering RAF Medmenham where he studied aerial photographs and pinpointed enemy targets for Bomber Command. As Lieutenant van den Bogaerde he was posted to France just after D-Day. He went on to star in many leading war films such as Appointment in London (1953) and King and Country (1964). Years later in 1991 Sir Dirk Bogarde was interviewed by the author of this book. He had witnessed the horrors of Belsen in April 1945 and said it changed his attitude to life forever. In this book, the author honors the real-life stories of some big screen idols who showed true grit behind the glamor.

World War II coincided with cinema's golden age. Movies now considered classics were created at a time when all sides in the war were coming to realize the great power of popular films to motivate the masses. Through multinational research, One World, Big Screen reveals how the Grand Alliance--Britain, China, the Soviet Union, and the United States--tapped Hollywood's impressive power to shrink the distance and bridge the differences that separated them. The Allies, M. Todd Bennett shows, strategically manipulated cinema in an effort to promote the idea that the United Nations was a family of nations joined by blood and affection. Bennett revisits Casablanca, Mrs. Miniver, Flying Tigers, and other familiar movies that, he argues, helped win the war and the peace by improving Allied solidarity and transforming the American worldview. Closely analyzing film, diplomatic correspondence, propagandists' logs, and movie studio records found in the United States, the United Kingdom, and the former Soviet Union, Bennett rethinks traditional scholarship on World War II diplomacy by examining the ways that Hollywood and the Allies worked together to prepare for and enact the war effort.

This book examines in depth for the first time the origins, development, and reception of the major dramatic screen representations of 'The Few' in the Battle of Britain produced over the past seventy years. It explores both continuity and change of presentation in relation to a wartime event that acquired near-mythical dimensions in popular consciousness even before it happened and has been represented multiple times over the course of the past seven decades. Alongside technical developments, considerable social, cultural, and political fluctuation (as well as an expansion of factual knowledge concerning the battle itself) occurred in this period, all of which helped to shape how the battle came to be framed at particular junctures. The ways in which the Battle of Britain was being represented in other fictional forms as well histories and commemorations form part of the context in which screen representations are explored. Films discussed in detail include The Lion Has Wings, First of the Few, Ang

The Big Screen tells the enthralling story of the movies: their rise and spread, their remarkable influence over us, and the technology that made the screen—smaller now, but ever more ubiquitous—as important as the images it carries. The Big Screen is not another history of the movies. Rather, it is a wide-ranging narrative about the movies and their signal role in modern life. At first, film was a waking dream, the gift of appearance delivered for a nickel to huddled masses sitting in the dark. But soon, and abruptly, movies began transforming our societies and our perceptions of the world. The celebrated film authority David Thomson takes us around the globe, through time, and across many media—moving from Eadweard Muybridge to Steve Jobs, from Sunrise to I Love Lucy, from John Wayne to George Clooney, from television commercials to streaming video—to tell the complex, gripping, paradoxical story of the movies. He tracks the ways we were initially enchanted by movies as imitations of life—the stories, the stars, the look—and how we allowed them to show us how to live. At the same time, movies, offering a seductive escape from everyday reality and its responsibilities, have made it possible for us to evade life altogether. The entranced audience has become a model for powerless and anxiety-ridden citizens trying to pursue happiness and dodge terror by sitting quietly in a dark room. Does the big screen take us out into the world, or merely mesmerize us? That is Thomson's question in this grand adventure of a book. Books about the movies are often aimed at film buffs, but this passionate and provocative feat of storytelling is vital to anyone trying to make sense of the age of screens—the age that, more than ever, we are living in.

World War II was the largest and most costly conflict in history, the first true global war. Fought on land, on sea, and in the air, it involved numerous countries and killed, maimed, or displaced millions of people, both civilian and military, around the world. In spite of the alliances that bound many of the same participants, the war was essentially two separate but simultaneous conflicts: one involved Japan as the major antagonist and took place mostly in Asia and the Pacific; and the other, initiated by Germany and Italy, was contested mainly in Europe, North Africa, the Mediterranean, and the Atlantic. This book focuses on the lesser known war, the war with Japan. It begins with Japan’s seizure of Manchuria from China in 1931 and covers Japan’s ambitious attacks on Pearl Harbor and other territories ten years later, the use of atomic bombs on Japan’s cities, and the end of the Allied occupation of Japan in 1952. Although Japan renounced war in its 1947 constitution, conflict continued across Asia, as former colonies fought for independence and civil war engulfed other areas. Historical Dictionary of World War II: The War Against Japan, Second Edition contains a chronology, an introduction, and an extensive bibliography. The dictionary section has more than 500 cross-referenced entries on the military, diplomatic, political, social, economic, and scientific aspects of the war, in addition to the lives of the people who participated in and directed the war. This book is an excellent resource for students, researchers, and anyone wanting to know more about the war against Japan during World War II.

Farewell My Concubine, one of three new QUEER FILM CLASSICS this fall, is a thought-provoking consideration of Chen Kaige's acclaimed 1992 Chinese film set in the mid-20th century about two male Peking opera stars and the woman who comes between them, set against the political turmoil of a China in transition. The film's treatment of gender performance and homosexuality was a first in Chinese cinema, and the subject of much controversy there. The movie, which helped to bring contemporary Chinese films onto the world stage, won the Palme d'Or at the Cannes Film Festival (the first Chinese film to do so), and was nominated for a Best Foreign-Language Film Oscar. This book, one of two new QFCs to focus on Asian queer cinema, places the film in its historical and cultural context while drawing on fresh insights from recent works on transgender and queer studies to provide readers with an intimate, provocative, and original look at the film.

"Published in conjunction with the exhibition of the same name, on view at the Smithsonian American Art Museum, Washington, DC, March 15, 2019 to August 18, 2019."