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

Papers based on a seminar held at Concordia University in 2013.

Together, Flags of our Fathers and Letters from Iwo Jima tell the story behind one of history's most famous photographs, Leo Rosenthal's 'Raising the Flag on Iwo Jima'.

This book presents commentaries by a leading international group of peace education scholars and practitioners concerning Reardon’s peace education theory and intellectual legacy. The guiding question throughout the book is: How can her foundational work be used to advance the theory and practice of peace education? In an attempt to find answers, the contributing authors explore three general areas of inquiry: (1) Theoretical Foundations of Peace and Human Rights Education; (2) Feminism and the Gender Perspective as Pathways of Transformation Toward Peace and Justice; and (3) Peace Education Pedagogy and Practices. A contemplative commentary by Reardon herself rounds out the coverage

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

In recent years, the US-led invasions of Afghanistan and Iraq have had an impact on the UK rivalled only by Brexit and the global financial crisis. For people at home, the wars were ever-present in the media yet remained distant and difficult to apprehend. Janina Wierzoch offers an analytical survey of British contemporary war narratives in novels, drama, film, and television that seek to make sense of the experience. The study shows how the narratives, instead of reflecting on the UK`s role as invader, portray war as invading the British home. Home loses its post-Cold War sense of »permanent peace« and is recast as a home/front where war once again becomes part of what it means to be »us«.

In/Visible War addresses a paradox of twenty-first century American warfare. The contemporary visual American experience of war is ubiquitous, and yet war is simultaneously invisible or absent; we lack a lived sense that “America” is at war. This paradox of in/visibility concerns the gap between the experiences of war zones and the visual, mediated experience of war in public, popular culture, which absents and renders invisible the former. Large portions of the domestic public experience war only at a distance. For these citizens, war seems abstract, or may even seem to have disappeared altogether due to a relative absence of visual images of casualties. Perhaps even more significantly, wars can be fought without sacrifice by the vast majority of Americans. Yet, the normalization of twenty-first century war also renders it highly visible. War is made visible through popular, commercial, mediated culture. The spectacle of war occupies the contemporary public sphere in the forms of celebrations at athletic events and in films, video games, and other media, coming together as MIME, the Military-Industrial-Media-Entertainment Network.