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Beginning with Charlie Chaplin's Shoulder Arms, released in America near the end of World War I, the military comedy film has been one of Hollywood's most durable genres. This generously illustrated history examines over 225 Army, Navy and Marine-related comedies produced between 1918 and 2009, including the abundance of laughspinners released during World War II in the wake of Abbott and Costello's phenomenally successful Buck Privates (1941), and the many lighthearted service films of the immediate postwar era, among them Mister Roberts (1955) and No Time for Sergeants (1958). Also included are discussions of such subgenres as silent films (The General), military-academy farces (Brother Rat), women in uniform (Private Benjamin), misfits making good (Stripes), anti-war comedies (MASH), and fact-based films (The Men Who Stare at Goats). A closing filmography is included in this richly detailed volume.
A behind-the-scenes look at the groundbreaking filmmaker M. Night Shyamalan In his relatively young career, M. Night Shyamalan has achieved phenomenal commercial and critical success. His films The Sixth Sense, Unbreakable, Signs, and The Village have grossed over $1.5 billion and reinvented the thriller genre. Because Shyamalan has worked outside of the Hollywood system, however, his filmmaking habits and personality have remained largely unknown. But reporter Michael Bamberger obtained unprecedented access to Shyamalan during the tumultuous production of his film Lady in the Water, and in The Man Who Heard Voices exposes the struggles and triumphs of this modern-day Hitchcock at work. From revising the screenplay to shooting on location and evaluating the crucial initial test screening, The Man Who Heard Voices tracks all stages in the life of Shyamalan’s film. Bamberger delves into Shyamalan’s relationship with the actors and the studio (he moved from Disney to Warner Bros. for this film) while also profiling various players on set. The result is a fascinating insider portrait of creative genius—and the real-life story behind a Hollywood thriller.
Directors of war and action movies receive access to billions of dollars worth of military equipment and personnel, but it comes with a hidden cost. As a veteran Hollywood journalist shows, the final product is often not just what the director intends but also what the powers-that-be in the military want to project about America's armed forces.
The bold and boundlessly original debut novel from the Oscar®-winning screenwriter of Being John Malkovich, Adaptation, Eternal Sunshine of the Spotless Mind, and Synecdoche, New York. LONGLISTED FOR THE CENTER FOR FICTION FIRST NOVEL PRIZE • “A dyspeptic satire that owes much to Kurt Vonnegut and Thomas Pynchon . . . propelled by Kaufman’s deep imagination, considerable writing ability and bull’s-eye wit."—The Washington Post “An astonishing creation . . . riotously funny . . . an exceptionally good [book].”—The New York Times Book Review • “Kaufman is a master of language . . . a sight to behold.”—NPR NAMED ONE OF THE BEST BOOKS OF THE YEAR BY NPR AND MEN’S HEALTH B. Rosenberger Rosenberg, neurotic and underappreciated film critic (failed academic, filmmaker, paramour, shoe salesman who sleeps in a sock drawer), stumbles upon a hitherto unseen film made by an enigmatic outsider—a film he’s convinced will change his career trajectory and rock the world of cinema to its core. His hands on what is possibly the greatest movie ever made—a three-month-long stop-motion masterpiece that took its reclusive auteur ninety years to complete—B. knows that it is his mission to show it to the rest of humanity. The only problem: The film is destroyed, leaving him the sole witness to its inadvertently ephemeral genius. All that’s left of this work of art is a single frame from which B. must somehow attempt to recall the film that just might be the last great hope of civilization. Thus begins a mind-boggling journey through the hilarious nightmarescape of a psyche as lushly Kafkaesque as it is atrophied by the relentless spew of Twitter. Desperate to impose order on an increasingly nonsensical existence, trapped in a self-imposed prison of aspirational victimhood and degeneratively inclusive language, B. scrambles to re-create the lost masterwork while attempting to keep pace with an ever-fracturing culture of “likes” and arbitrary denunciations that are simultaneously his bête noire and his raison d’être. A searing indictment of the modern world, Antkind is a richly layered meditation on art, time, memory, identity, comedy, and the very nature of existence itself—the grain of truth at the heart of every joke.
The vast, and vastly influential, American military machine has been aided and abetted by cinema since the earliest days of the medium. The US military realized very quickly that film could be used in myriad ways: training, testing, surveying and mapping, surveillance, medical and psychological management of soldiers, and of course, propaganda. Bringing together a collection of new essays, based on archival research, Wasson and Grieveson seek to cover the complex history of how the military deployed cinema for varied purposes across the the long twentieth century, from the incipient wars of US imperialism in the late nineteenth century to the ongoing War on Terror. This engagement includes cinema created and used by and for the military itself (such as training films), the codevelopment of technologies (chemical, mechanical, and digital), and the use of film (and related mass media) as a key aspect of American "soft power," at home and around the world. A rich and timely set of essays, this volume will become a go-to for scholars interested in all aspects of how the military creates and uses moving-image media.
Since 9/11, why have we won smashing battlefield victories only to botch nearly everything that comes next? In the opening phases of war in Afghanistan, Iraq, and Libya, we mopped the floor with our enemies. But in short order, things went horribly wrong. We soon discovered we had no coherent plan to manage the "day after." The ensuing debacles had truly staggering consequences—many thousands of lives lost, trillions of dollars squandered, and the apparent discrediting of our foreign policy establishment. This helped set the stage for an extraordinary historical moment in which America's role in the world, along with our commitment to democracy at home and abroad, have become subject to growing doubt. With the benefit of hindsight, can we discern what went wrong? Why have we had such great difficulty planning for the aftermath of war? In The Day After, Brendan Gallagher—an Army lieutenant colonel with multiple combat tours to Iraq and Afghanistan, and a Princeton Ph.D.—seeks to tackle this vital question. Gallagher argues there is a tension between our desire to create a new democracy and our competing desire to pull out as soon as possible. Our leaders often strive to accomplish both to keep everyone happy. But by avoiding the tough underlying decisions, it fosters an incoherent strategy. This makes chaos more likely. The Day After draws on new interviews with dozens of civilian and military officials, ranging from US cabinet secretaries to four-star generals. It also sheds light on how, in Kosovo, we lowered our postwar aims to quietly achieve a surprising partial success. Striking at the heart of what went wrong in our recent wars, and what we should do about it, Gallagher asks whether we will learn from our mistakes, or provoke even more disasters? Human lives, money, elections, and America's place in the world may hinge on the answer.
The four volumes of Film Study include a fresh approach to each of the basic categories in the original edition. Volume one examines the film as film; volume two focuses on the thematic approach to film; volume three draws on the history of film; and volume four contains extensive appendices listing film distributors, sources, and historical information as well as an index of authors, titles, and film personalities.
During the 1950s and early 1960s, school air-raid drills, bomb shelters, and unnerving civil defense films served as constant reminders of the looming threat of nuclear war. Throughout America, a widespread civil defense effort used town meetings, public school educational programs, and the mass media--television, radio, and especially, motion pictures--to mobilize every citizen for a protracted Cold War. This volume explores how American popular culture has portrayed civil defense from mid-twentieth century to the immediate post-September 11 era. With analysis of everything from early government propaganda films and 1950s science fiction films to Happy Days, the Reagan-era TV movie The Day After, and the small-screen nostalgia trend after 9/11, it shows how popular culture reflects American fears and the hope of preparedness.