This bibliography is a listing of selected, unclassified government and commercially produced motion picture films, videotapes and related audiovisual materials that support the teaching of American military history. It is designed to serve as a resource tool to assist instructors within the TRADOC Military History Education Program. Partial contents: General Military history; Military technology; Military Commanders and personalities; Unit histories; Colonial America to 1861; Civil War and Spanish-American War; World War I and between the wars; World War II; Korean War and the Cold war; Vietnam War to the Present; Hollywood Films.

This bibliography is a listing of selected, unclassified government and commercially produced motion picture films, videotapes and related audiovisual materials that support the teaching of American military history. It is designed to serve as a resource tool to assist instructors within the TRADOC Military History Education Program. Partial contents: General Military history; Military technology; Military Commanders and personalities; Unit histories; Colonial America to 1861; Civil War and Spanish-American War; World War I and between the wars; World War II; Korean War and the Cold war; Vietnam War to the Present; Hollywood Films.

Film moves audiences like no other medium; both documentaries and feature films are especially remarkable for their ability to influence viewers. Best-selling author James Brady remarked that he joined the Marines to fight in Korea after seeing a John Wayne film, demonstrating how a motion picture can change the course of a human life—in this case, launching the career of a major historian and novelist. In Why We Fought: America's Wars in Film and History, editors Peter C. Rollins and John E. O'Connor explore the complexities of war films, describing the ways in which such productions interpret history and illuminate American values, politics, and culture. This comprehensive volume covers representations of war in film from the American Revolution in the 18th century to today's global War on Terror. The contributors examine iconic battle films such as The Big Parade (1925), All Quiet on the Western Front (1930), From Here to Eternity (1953), and Platoon (1986), considering them as historical artifacts. The authors explain how film shapes our cultural understanding of military conflicts, analyzing how war is depicted on television programs, through news media outlets, and in fictional and factual texts. With several essays examining the events of September 11, 2001, and their aftermath, the book has a timely relevance concerning the country's current military conflicts. Jeff Chown examines controversial documentary films about the Iraq War, while Stacy Takacs considers Jessica Lynch and American gender issues in a post-9/11 world, and James Kendrick explores the political messages and aesthetic implications of United 93. From filmmakers who reshaped our understanding of the history of the Alamo, to Ken Burns's popular series on the Civil War, to the uses of film and media in understanding the Vietnam conflict, Why We Fought offers a balanced outlook— one of the book's editors was a combat officer in the United States Marines, the other an antiwar activist—on the conflicts that have become touchstones of American history. As Air Force veteran and film scholar Robert Fyne notes in the foreword, American war films mirror a nation's past and offer tangible evidence of the ways millions of Americans have become devoted, as was General MacArthur, to "Duty, honor, and country." Why We Fought chronicles how, for more than half a century, war films have shaped our nation's consciousness.

Written by a knowledgeable film critic and Korean War scholar, this is the only guide exclusively devoted to the study of Hollywood and television films based on the Korean War, 1950-1953. It opens with eight short essays, discussing the appeal of the war film genre, government and filmmaker cooperation, the isolation of Korean War films from other war films, why John Wayne didn't make a Korean War film, the other actors who did, the plots of Korean War films, television and Korean War films, and the myths resulting from films. Eighty-four films are then discussed in alphabetically arranged entries. The entries include production unit, color status, producer, director, screenwriter, actors and actresses, movie length, and the author's numerical rating of the film. The commentary places each film within the context of other war films, the Korean War, trends in Hollywood, and the social and political realities of the United States. The films also are listed chronologically. Producers, directors, screenwriters, actors, and actresses are indexed by responsibility and are included in the general index. The book also provides a list of 109 documentary films available for public viewing.

Since the beginning of the 20th century, public administration (PA) departments have been established, primarily in the USA and later in other Western countries, and education in the field of public administration has been provided in these departments. As the field of public administration has been changing due to globalization, government reforms, and increasing governance practices within intergovernmental networks, research and teaching in public administration has also had to adapt. Public Affairs Education and Training in the 21st Century highlights the best practices of various countries in public administration and policy education and training to contribute to the development of the public administration and policy education/training field. This book focuses on comparative studies and innovative teaching techniques and how they affect public administration education methods and curriculum. Highlighting topics that include distance learning, public affairs education, ethics, and public policy, this book is essential for teachers, public affairs specialists, trainers, researchers, students, practitioners, policymakers, academicians, public administrators, public officials, and public policy scholars.