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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.
Al Murray's (AKA The Pub Landlord) musing on his childhood where his fascination with history and all things war began. Have you ever watched a film with someone who, at the most dramatic scene, argues that the plane on screen hasn't been invented yet? Or that the tank rumbling towards the hero at the end of the film is the wrong tank altogether? Al Murray is that someone. Try as he might, he can’t help himself. Growing up in the 1970s, Al, with the help of his dad, became fascinated with the history of World War Two. They didn’t go to football; they went to battlefields. Because like so many of his generation whose childhood was all about Airfix, Action Man and Where Eagles Dare, he grew up in the cultural wake of the Second World War. Part memoir, part life obsession, this is Al Murray musing on what he knows best. And he’s sure to tell you things about history that you were never taught at school.
This book examines representations of the Second World War in postwar Chinese and Japanese cinema. Drawing on a wide range of scholarly disciplines, and analysing a wide range of films, it demonstrates the potential of war movies for understanding contemporary China and Japan. It shows how the war is remembered in both countries, including the demonisation of Japanese soldiers in postwar socialist-era Chinese movies, and the pervasive sense of victimhood in Japanese memories of the war. However, it also shows how some Chinese directors were experimenting with alternatives interpretations of the war from as early as the 1950s, and how, despite the "resurgence of nationalism" in japan since the 1980s, the production of Japanese movies critical of the war has continued.
Humor and entertainment were vital to the war effort during World War I. While entertainment provided relief to soldiers in the trenches, it also built up support for the war effort on the home front. This book looks at transnational war culture by examining seemingly light-hearted discourses on the Great War.
Before the movie, this is the novel that gave life to Hawkeye Pierce, Trapper John, Hot Lips Houlihan, Frank Burns, Radar O'Reilly, and the rest of the gang that made the 4077th MASH like no other place in Korea or on earth. The doctors who worked in the Mobile Army Surgical Hospitals (MASH) during the Korean War were well trained but, like most soldiers sent to fight a war, too young for the job. In the words of the author, "a few flipped their lids, but most of them just raised hell, in a variety of ways and degrees." For fans of the movie and the series alike, here is the original version of that perfectly corrupt football game, those martini-laced mornings and sexual escapades, and that unforgettable foray into assisted if incompleted suicide—all as funny and poignant now as they were before they became a part of America's culture and heart.
A comprehensive analysis of the changing representations of military women in American and British movies and TV programs from the Second World War to the present.
Examining humor in depictions of the Civil War from the war years to the present, this review covers a wide range of literature, film and television in historical context. Wartime humor served as a form of propaganda to render the enemy and their cause laughable, but also to help people cope with the human costs of the conflict. After the war many authors and, later, movie and television producers employed humor to shape its legacy, perpetuating myths and stereotypes that became ingrained in American memory. Giving attention to the stories behind the stories, the author focuses on what people laughed at, who they laughed with and what it reveals about their view of events.
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.
“Eugene Sledge became more than a legend with his memoir, With The Old Breed. He became a chronicler, a historian, a storyteller who turns the extremes of the war in the Pacific—the terror, the camaraderie, the banal and the extraordinary—into terms we mortals can grasp.”—Tom Hanks NEW YORK TIMES BESTSELLER In The Wall Street Journal, Victor Davis Hanson named With the Old Breed one of the top five books on epic twentieth-century battles. Studs Terkel interviewed the author for his definitive oral history, The Good War. Now E. B. Sledge’s acclaimed first-person account of fighting at Peleliu and Okinawa returns to thrill, edify, and inspire a new generation. An Alabama boy steeped in American history and enamored of such heroes as George Washington and Daniel Boone, Eugene B. Sledge became part of the war’s famous 1st Marine Division—3rd Battalion, 5th Marines. Even after intense training, he was shocked to be thrown into the battle of Peleliu, where “the world was a nightmare of flashes, explosions, and snapping bullets.” By the time Sledge hit the hell of Okinawa, he was a combat vet, still filled with fear but no longer with panic. Based on notes Sledge secretly kept in a copy of the New Testament, With the Old Breed captures with utter simplicity and searing honesty the experience of a soldier in the fierce Pacific Theater. Here is what saved, threatened, and changed his life. Here, too, is the story of how he learned to hate and kill—and came to love—his fellow man. “In all the literature on the Second World War, there is not a more honest, realistic or moving memoir than Eugene Sledge’s. This is the real deal, the real war: unvarnished, brutal, without a shred of sentimentality or false patriotism, a profound primer on what it actually was like to be in that war. It is a classic that will outlive all the armchair generals’ safe accounts of—not the ‘good war’—but the worst war ever.”—Ken Burns
War Movies and Economics: Lessons from Hollywood's Adaptations of Military Conflict applies ongoing research in the relatively new genre of economics in popular media to Hollywood's war movies. Whether inadvertently or purposefully, these movies provide numerous examples of how economic principles often play an important role in military conflict. The authors of the chapters included in this edited collection work to illustrate economics lessons portrayed in adaptations such as Band of Brothers, Conspiracy, The Dirty Dozen, Dunkirk, Memphis Belle, Saving Private Ryan, Schindler's List, Spartacus, Stalag 17 and Valkyrie. Aspects of these stories show how key economic principles of scarcity, limited resources and incentives play important roles in military conflict. The movies also provide an avenue for discussion of the economics of public goods provision, the modern economic theory of bureaucracy, and various game-theoretic concepts such as strategic moves and commitment devices. Where applicable, lessons from closely related fields such as management are also provided. This book is ideal reading for students of economics looking for an approachable route to understanding basic principles of economics and game theory. It is also accessible to amateur and professional historians, and any reader interested in popular culture as it relates to television, movies, and military history.