...Sasha Torres Copyright © 1994 by Indiana University Press 1994 Figure 1. War and Remembrance: Televisual Narrative, National Memory, and China Beach Sasha Torres I. Memory: Televisual, Popular, National In “The Gift the last show of China Beach’s third season on ABC...

... and War, Gender and Nation, Victims and Victimizers: Helke Sander’s BeFreier und Befreite Richard W. McCormick I wouldn’t be honest if I didn’t say that the fear of death I endured in the process of being raped...

... in The Manchurian Candidate (dir. John Frankenheimer, US, 1962) Of Red Queens and Garden Clubs: The Manchurian Candidate, Cold War Paranoia, and the Historicity of the Homosexual Kevin Ohi In Schreber’s system, the two principal elements of his delusion (his transformation into a woman and his...

...Amanda Howell Susan Jeffords’s The Remasculinization of America: Gender and the Vietnam War (Bloomington: Indiana University Press, 1989) Amanda Howell We must ask more often how things happened in order to find out why...

...Laura U. Marks Tie a Yellow Ribbon Around Me: Masochism, Militarism and the Gulf War on TV Laura U. Marks The United States’ war with Iraq, despite its rather ignominious con- clusion, produced one durable souvenir. As the American flags quietly came down, as corporations...

...Stacie Colwell The End ofthe Road: Gender, the Dissemination of Knowledge, and the American Campaign Against Venereal Disease during World War I Stacie Colwell “Two roads there are in life,” states the prologue to the 1918 American Social Hygiene Association Film, The End...

...Catherine Williamson Copyright © 1995 by Indiana University Press 1996 Swimming Pools, Movie Stars: The Celebrity Body in the Post-War Marketplace Catherine Williamson In the minds of many people, Esther Williams...

...Moon Charania This article looks at two controversial war films— Eye in the Sky (dir. Gavin Hood, UK/South Africa, 2015) and Whiskey Tango Foxtrot (dir. Glenn Ficarra and John Requa, US, 2016)—both of which feature white female protagonists as conflicted but central participants in the racialized...

..., announced on Twitter that he was divorcing her. Comforting Porsha functioned as part of an ethos of care to such a degree that black talk show host and gossip queen Wendy Williams offered her step-­by-s­ tep advice on how to win the war against Stewart. Williams instructed, Here s my advice to you. First...

... noticing, the purposeful and direct exploitation or genocide, and the gendered way in which contemporary wars — creedal wars writ large as global civil wars — states, families, and most contemporary conceptualizations of community are part of its machinery” (194). 31...

... taken in the throes of war during the US occupation of Iraq, the essay asks, following the lead of Judith Butler, what is visual culture's critical task during times of war? Errol Morris's Standard Operating Procedure points the way. This extraordinary documentary film, grounded in interpretations...

... of adolescence and expose the mismatch as a zone of liminality that can be confined to neither the diegesis nor the father. The instability of Durbin's voice is exemplified by the two halves of her cinematic oeuvre. Prior to US entry into the Second World War, Universal presented Deanna Durbin as a young...

... “exotic.” The production insisted on her embodiment of the Hollywood beauty ideal during World War II and defined feminine beauty in terms that would not offend soldiers overseas. Fox went as far as to excise a montage sequence in which the influential columnist Waldo Lydecker (Clifton Webb) helps make...

... Street as a case study to analyze the ways in which theories of trauma can be effectively brought to bear on melodramas of the post–World War I era and, in the process, demonstrate the appeal Pabst’s works held for the Close Up editors, who shared his interest in trauma, psychoanalysis, and healing...

... unacknowledged by later critics. The author argues that Arletty's unique form of stardom—allowing her “self” to unite otherwise contrary attributes—anchors Enfants 's reconciliatory influence over a society fragmented by war and enemy occupation. As the actress purportedly declared: “Si mon cœur est français...

...Joy McEntee Charles S. Young and Susan L. Carruthers describe John Frankenheimer's The Manchurian Candidate (US, 1962) as a prisoner-of-war film. This article argues that, as such, it stages the responses of its male protagonists to trauma. Focusing on weeping, the article examines...

... over and against the comedic qualities of Rooney’s Asian caricature. It situates the film in a cycle of postwar Paramount films preoccupied with white/Asian romances and Cold War orientalism and also outlines the significant publicity measures, generated by multiple players in Breakfast at Tiffany’s...

.... The third site of opacity, which examines Harvey's “Anti-Drone” wear in light of “the fog of war,” invokes Noel Sharkey and Lucy Suchman's recent call to end the production of autonomous armed machines. Throughout these three sites of opacity, Harvey's work opens up a response to surveillance that inhabits...