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It has often been observed that the First World War jolted Canada into nationhood, and as Mark Forsythe and Greg Dickson show in this compelling book, no province participated more eagerly in that transformation or felt the aftershock more harshly than British Columbia. In From the West Coast to the Western Front, Forsythe, host of CBC Radio’s mid-day show BC Almanac, marks the 100th anniversary of World War I by teaming with historian Greg Dickson and the ever resourceful BC Almanac audience to compile a sweeping portrayal of that crucial chapter of BC history. Of the 611,000 Canadians who fought for King and Country, 55,570 were from British Columbia—the highest per capita rate of enlistment in the country. Of that contingent, 6,225 died in battle, a critical loss to a fledgling province of barely 400,000. Compiling stories, artifacts and photos sent in by BC Almanac listeners from across the province, this volume tells of submarine smuggling, bagpipes lost on the battlefield and of the ongoing struggles by soldiers who made it home. It tells of battles that set records for mass death amid conditions of unequalled squalor, but also of the heroism of front-line nurses and soldiers like George Maclean, a First Nations man from the Okanagan, who won the Distinguished Conduct Medal. By turns devastating, harrowing, insightful and miraculous, these stories reveal much about the spirit and resilience of a people who survived one of history’s greatest disasters to build the province we have today.
The immediacy and perceived truth of the visual image, as well as film and television's ability to propel viewers back into the past, place the genre of the historical film in a special category. War films--including antiwar films--have established the prevailing public image of war in the twentieth century. For American audiences, the dominant image of trench warfare in World War I has been provided by feature films such as All Quiet on the Western Front and Paths of Glory. The image of combat in the Second World War has been shaped by films like Sands of Iwo Jima and The Longest Day. And despite claims for the alleged impact of widespread television coverage of the Vietnam War, it is actually films such as Apocalypse Now and Platoon which have provided the most powerful images of what is seen as the "reality" of that much disputed conflict. But to what degree does history written "with lightning," as Woodrow Wilson allegedly said, represent the reality of the past? To what extent is visual history an oversimplification, or even a distortion of the past? Exploring the relationship between moving images and the society and culture in which they were produced and received, World War II, Film, and History addresses the power these images have had in determining our perception and memories of war. Examining how the public memory of war in the twentieth century has often been created more by a manufactured past than a remembered one, a leading group of historians discusses films dating from the early 1930s through the early 1990s, created by filmmakers the world over, from the United States and Germany to Japan and the former Soviet Union. For example, Freda Freiberg explains how the inter-racial melodramatic Japanese feature film China Nights, in which a manly and protective Japanese naval officer falls in love with a beautiful young Chinese street waif and molds her into a cultured, submissive wife, proved enormously popular with wartime Japanese and helped justify the invasion of China in the minds of many Japanese viewers. Peter Paret assesses the historical accuracy of Kolberg as a depiction of an unsuccessful siege of that German city by a French Army in 1807, and explores how the film, released by Hitler's regime in January 1945, explicitly called for civilian sacrifice and last-ditch resistance. Stephen Ambrose contrasts what we know about the historical reality of the Allied D-Day landings in Normandy on June 6, 1944, with the 1962 release of The Longest Day, in which the major climactic moment in the film never happened at Normandy. Alice Kessler-Harris examines The Life and Times of Rosie the Riveter, a 1982 film documentary about women defense workers on the American home front in World War II, emphasizing the degree to which the documentary's engaging main characters and its message of the need for fair and equal treatment for women resonates with many contemporary viewers. And Clement Alexander Price contrasts Men of Bronze, William Miles's fine documentary about black American soldiers who fought in France in World War I, with Liberators, the controversial documentary by Miles and Nina Rosenblum which incorrectly claimed that African-American troops liberated Holocaust survivors at Dachau in World War II. In today's visually-oriented world, powerful images, even images of images, are circulated in an eternal cycle, gaining increased acceptance through repetition. History becomes an endless loop, in which repeated images validate and reconfirm each other. Based on archival materials, many of which have become only recently available, World War II, Film, and History offers an informative and a disturbing look at the complex relationship between national myths and filmic memory, as well as the dangers of visual images being transformed into "reality."
Describes the world that would have existed in 1945 if Adolf Hitler had not declared war on the United States after Pearl Harbor.
"World War II Day by Day is a chronological history of the second World War from the beginning of the Nazi's campaign in Poland in September 1939 to the surrender of Japan in Tokyo Bay on September 2, 1945. All major war theaters are covered, as is the fighting in the air and the sea. The dated entries, written as though they have just happened, recapture the immediacy of the war as they analyze the major battles and campaigns, including Stalingrad, Kursk, Midway, D-Day, Iwo Jima, Okinawa and Berlin. Longer features on various aspects of the conflict accompany each entry. You will see the war's decisive weapons, strategic decisions, and policies. There are also biographical entries on the individuals who shaped and prosecuted the war in both Europe and the Pacific theaters: leaders such as Chamberlain, Stalin, Zhukov, MacArthur, Hitler, Manstein, and Eisenhower. The hardcover reference titles in the Day by Day series examine the evolution of wars in a chronological timeline, from the first skirmishes to the final battles. The fate of soldiers, battalions, armies, can change in the blink of an eye--with these comprehensive books, you can follow the conflicting sides in their strategy, weaponry, and policies." -- Amazon.com.
Addle Waites Hunton (1875-1943) was an activist for the rights of African Americans during the first half of the twentieth century. Her husband, William Alphaeus Hunton, was an executive for the YMCA and the first Black secretary of the international committee of that organization. After her husband's death in 1916, Hunton became involved in the YMCA's work abroad serving Black troops during World War I. This book is her memoir of these experiences, written with her co-worker Kathryn Johnson.
Günter Koschorrek wrote his illicit diary on any scraps of paper he could lay his hands on, storing them with his mother on infrequent trips home on leave. The diary went missing, and it was not until he was reunited with his daughter in America some forty years later that it came to light and became Blood Red Snow. The author’s excitement at the first encounter with the enemy in the Russian Steppe is obvious. Later, the horror and confusion of fighting in the streets of Stalingrad are brought to life by his descriptions of the others in his unit – their differing manners and techniques for dealing with the squalor and death. He is also posted to Romania and Italy, assignments he remembers fondly compared to his time on the Eastern Front. This book stands as a memorial to the huge numbers on both sides who did not survive and is, some six decades later, the fulfilment of a responsibility the author feels to honour the memory of those who perished.
Discussing such classic films as Sergeant York, Air Force, and All Quiet on the Western Front, as well as more modern blockbusters like Apocalypse Now and Saving Private Ryan, this outstanding volume focuses on Hollywood and its production of war films. Topics covered include: the early formation of war cinema the apotheosis of the Hollywood war film the ascendancy of ambivalence Hollywood and the war since Vietnam war as a way of seeing. For any student of film studies or American cultural studies, this is a valuable companion.
George Gerfaut, aimless young executive and desultory family man, witnessesa murder and finds himself sucked into a spiral of violence involving an exiledwar criminal and two hired assassins. Adapting to the exigencies of his new lifeon the run with shocking ease, Gerfaut abandons his comfortable middle-classlife for several months, until, joined with a new ally, he finally returns tosettle all accounts... with brutal, bloody interest. Released in 2005, WestCoast Blues (Le Petit bleu de la côte ouest) is Tardi's adaptation ofa popular 1976 novel by the French crime writer Jean-Patrick Manchette. (Thenovel had been previously adapted to film under the more literal title Troishommes à abattre, and was released in English by the San Francisco-basedpublisher City Lights under the English version of the same title, 3 toKill.) Tardi's late-period, looser style infuses Manchette's dark story witha seething, malevolent energy; he doesn't shy away from the frequently grislygoings-on, while maintaining (particularly in the old-married-couple-stylebickering of the two killers who are tracking Gerfaut) the mordant wit thatcharacterizes his best work. This is the kind of graphic novel that QuentinTarantino would love, and a double shot of Scotch for any fan of unrelenting,uncompromising crime fiction