Before the Colditz Myth: Telling POW Stories in Postwar British Cinema.
Before the concretization of the 'Colditz Myth' in the mid-1950s, British cinema's engagement with the prisoner of war (POW) narrative took unexpected generic forms. The Captive Heart (1946) and The Wooden Horse (1950) draw on the narrative conventions and structures of feeling mobilized by document...
| Publicado en: | Journal of War & Culture Studies Vol. 7; no. 3; pp. 269 - 283 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Aug2014
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=97086740&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 97086740 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 17526272 392A jtl: Journal of War & Culture Studies issn: 17526272 maglogo: N pubinfo: dt: Aug2014 vid: 7 iid: 3 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 97086740 10.1179/1752627214Z.00000000048 ppf: 269 ppct: 14 formats: fmt: – @attributes: type: T – @attributes: type: P size: 133KB tig: atl: Before the Colditz Myth: Telling POW Stories in Postwar British Cinema. aug: au: Plain, Gill affil: University of St Andrews, Scotland su: Prisoners of war in mass media Prisoners of war Captive Heart, The (Film) Wooden Horse, The (Film) Social anxiety sug: subj: Prisoners of war in mass media Prisoners of war Captive Heart, The (Film) Wooden Horse, The (Film) Social anxiety keyword: British cinema demobilization genre home masculinity structures of feeling war film ab: Before the concretization of the 'Colditz Myth' in the mid-1950s, British cinema's engagement with the prisoner of war (POW) narrative took unexpected generic forms. The Captive Heart (1946) and The Wooden Horse (1950) draw on the narrative conventions and structures of feeling mobilized by documentary realism, romance, melodrama, and crime. Exploring these films as hybrid genres draws attention to their capacity to symbolize a range of postwar social anxieties, in particular regarding demobilization, repatriation, and the reconstruction of peacetime masculinities. The films depict the frustration and boredom of incarceration, and build narratives of reassurance out of group and individual coping strategies. Yet, while characters might escape, the 'duty to escape' is not a central preoccupation: rather the films focus on the relationship between camp and home, and the reconstruction of the incarcerated male subject. Between 1946 and 1955, cinema variously imagines the prisoner of war camp as a space of holistic reconstruction, and as a site for the reconstruction of male agency through productive labour. These films, then, bear little resemblance to the war genre through which they are usually conceptualized: rather they draw on domestic tropes to examine the pressures confronting the male subject in the aftermath of war. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Journal of War & Culture Studies is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Journal of War & Culture Studies holder: Taylor & Francis Ltd dt: @attributes: year: 2014 holdings: @attributes: islocal: N |
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