Age and Youth, Sound and Vision

2019 ◽  
Vol 124 (5) ◽  
pp. 1793-1797
Author(s):  
Catherine Robson
Keyword(s):  
World War I ◽  
Documentary Film ◽  
Historical Documents ◽  
World War ◽  
Western Front ◽  
Gains And Losses

Abstract This roundtable offers four diverse perspectives on Peter Jackson’s innovative and controversial World War I documentary film They Shall Not Grow Old (2018). Jackson’s film breaks the mold of the documentary genre in its manipulation and montage of the visual and audio archives held at the Imperial War Museum in London. Yet he puts his technical virtuosity and resources at the service of a very traditional interpretation of the war, focusing almost entirely on the experience of young Englishmen on the Western Front. Scholars Santanu Das, Susan R. Grayzel, Jessica Meyer, and Catherine Robson offer their reflections on both the gains and losses of Jackson’s paradoxical original use of historical documents and old-fashioned rendering of the war’s experiential elements. They consider, respectively, the experience of colonial troops, the place of women in the war, and Jackson’s creative, if controversial, interpretation of the visual and aural archive.

Colors of the Past: Archive, Art, and Amnesia in a Digital Age

2019 ◽  
Vol 124 (5) ◽  
pp. 1771-1781
Author(s):  
Santanu Das
Keyword(s):  
World War I ◽  
Documentary Film ◽  
Digital Age ◽  
Historical Documents ◽  
World War ◽  
The Past ◽  
Western Front ◽  
Gains And Losses

Abstract This roundtable offers four diverse perspectives on Peter Jackson’s innovative and controversial World War I documentary film They Shall Not Grow Old (2018). Jackson’s film breaks the mold of the documentary genre in its manipulation and montage of the visual and audio archives held at the Imperial War Museum in London. Yet he puts his technical virtuosity and resources at the service of a very traditional interpretation of the war, focusing almost entirely on the experience of young Englishmen on the Western Front. Scholars Santanu Das, Susan R. Grayzel, Jessica Meyer, and Catherine Robson offer their reflections on both the gains and losses of Jackson’s paradoxical original use of historical documents and old-fashioned rendering of the war’s experiential elements. They consider, respectively, the experience of colonial troops, the place of women in the war, and Jackson’s creative, if controversial, interpretation of the visual and aural archive.

Who Gets to Be in the War Story? Absences and Silences in They Shall Not Grow Old

2019 ◽  
Vol 124 (5) ◽  
pp. 1782-1788
Author(s):  
Susan R. Grayzel
Keyword(s):  
World War I ◽  
Documentary Film ◽  
Historical Documents ◽  
World War ◽  
Western Front ◽  
Gains And Losses

Abstract This roundtable offers four diverse perspectives on Peter Jackson’s innovative and controversial World War I documentary film They Shall Not Grow Old (2018). Jackson’s film breaks the mold of the documentary genre in its manipulation and montage of the visual and audio archives held at the Imperial War Museum in London. Yet he puts his technical virtuosity and resources at the service of a very traditional interpretation of the war, focusing almost entirely on the experience of young Englishmen on the Western Front. Scholars Santanu Das, Susan R. Grayzel, Jessica Meyer, and Catherine Robson offer their reflections on both the gains and losses of Jackson’s paradoxical original use of historical documents and old-fashioned rendering of the war’s experiential elements. They consider, respectively, the experience of colonial troops, the place of women in the war, and Jackson’s creative, if controversial, interpretation of the visual and aural archive.

Sound and Silence in Peter Jackson’s They Shall Not Grow Old

2019 ◽  
Vol 124 (5) ◽  
pp. 1789-1792
Author(s):  
Jessica Meyer
Keyword(s):  
World War I ◽  
Documentary Film ◽  
Historical Documents ◽  
World War ◽  
Western Front ◽  
Gains And Losses

Abstract This roundtable offers four diverse perspectives on Peter Jackson’s innovative and controversial World War I documentary film They Shall Not Grow Old (2018). Jackson’s film breaks the mold of the documentary genre in its manipulation and montage of the visual and audio archives held at the Imperial War Museum in London. Yet he puts his technical virtuosity and resources at the service of a very traditional interpretation of the war, focusing almost entirely on the experience of young Englishmen on the Western Front. Scholars Santanu Das, Susan R. Grayzel, Jessica Meyer, and Catherine Robson offer their reflections on both the gains and losses of Jackson’s paradoxical original use of historical documents and old-fashioned rendering of the war’s experiential elements. They consider, respectively, the experience of colonial troops, the place of women in the war, and Jackson’s creative, if controversial, interpretation of the visual and aural archive.

scholarly journals Mellem to verdener - Krigsrepræsentationer hos Walter Flex, Ernst Jünger og Erich Maria Remarque

2018 ◽  
pp. 65-84
Author(s):  
Adam Paulsen
Keyword(s):  
World War I ◽  
World War ◽  
Western Front ◽  
Major Shift ◽  
The Difference ◽  
To Come ◽  
The Wanderer

This article compares representations of war in Walter Flex’ The Wanderer between Two Worlds (1916), Ernst Jünger’s Storm of Steel (1920), and Erich Maria Remarque’s All Quiet on the Western Front (1929). It shows the extent to which these representations are shaped by political and ideological convictions. The difference between the romantic idealism of Flex and Jünger’s “soldierly nationalism”,which he proposed as a model for the time to come, reflects a major shift during World War I itself. By contrast, neither past nor future seem to be of any use in Remarque’s famous antiwar novel, in which the war generation surprisingly is described as having nothing else to live for beyond the present, i.e. beyond war. Finally, the article suggests how these different representations of war each, in their own way, contributed to the aesthetics and ideology of fascism.

Remarque, Erich Maria (1898–1970)

2018 ◽  
Author(s):  
Irene Gammel
Keyword(s):  
World War I ◽  
World Wide ◽  
Great War ◽  
World War ◽  
Advertising Campaign ◽  
Western Front ◽  
Wide Readership ◽  
National Boundaries ◽  
The Great War ◽  
Quiet Day

Born Erich Paul Remark in Osnabrück, Germany, Erich Maria Remarque is best known for his influential anti-war novel Im Westen nichts Neues (1929, All Quiet on the Western Front). First serialized in the Vossische Zeitung in 1928, All Quiet was launched with an unprecedented advertising campaign. Hailed as ‘the great war novel’, the book spawned a world-wide readership with translations into over twenty-five languages, and a film (directed by Lewis Milestone) in 1930. Written within just a few months in 1927, All Quiet on the Western Front toys with autobiographical references. The protagonist Paul Bäumer is a nineteen-year old war veteran whose seemingly non-consequential death in October 1918, on a ‘quiet’ day on the Western front, stands for the shared fate of millions of soldiers obscured by the unprecedented violence and horror of World War I. Remarque changed his name after the war, dropping his middle name Paul, and adopting his mother’s name, Maria, while also Gallicizing the spelling of his last name, thereby blurring national boundaries.

Stimmungen, Spannungen, Visionen

2019 ◽  
Vol 60 (1) ◽  
pp. 339-371
Author(s):  
Max Graff
Keyword(s):  
World War I ◽  
Human Body ◽  
Great War ◽  
World War ◽  
Literary Magazines ◽  
Western Front ◽  
Military Surgeon ◽  
The Great War ◽  
Poetic Visions

Wilhelm Klemm, Expressionist poet and military surgeon on the Western front during World War I, published approximately 60 war poems, both in his collection Gloria! (1915) and in several literary magazines such as Franz Pfemfert’s Aktion. Some of them were soon hailed as eminently critical of common, glorifying poetic visions of war. This is certainly adequate; a closer scrutiny of the entire corpus of Klemm’s war poems, however, reveals a peculiar diversity which requires an awareness for their ambivalences. The article therefore considers three fields of inquiry: the poems’ depiction of the human body, their relation to lyrical paradigms focussed on nature and Stimmung, and ways of transcending both these paradigms and naturalistic representations of war and its effects. It thus identifies Klemm’s different modes of perceiving, interpreting and processing the experience of the Great War.

scholarly journals Emotion, Medizin und Volksbelehrung: die Entstehung des «deutschen Kulturfilms»

Gesnerus ◽  
2009 ◽  
Vol 66 (1) ◽  
pp. 67-102
Author(s):  
Philipp Osten
Keyword(s):  
World War I ◽  
Weimar Republic ◽  
Documentary Film ◽  
Film Industry ◽  
The Political ◽  
World War ◽  
Government Officials ◽  
German Empire ◽  
German Film ◽  
Government Institutions

This article describes the process of professionalisation of medical films in Germany between 1910 and 1920. At the beginning of this decade, government institutions showed a growing interest in hygiene campaigns and started to cooperate with medical experts as well as with professional advertisers. When the German film industry was nationalised at the end of World War I, these informal structures were strengthened. New theories described the film as a most powerful tool for propaganda purposes. This profoundly changed the expectations towards medical films. Now their content had to be bedded into the dramatised form of a photoplay. After 1918, in anticipation of the reprivatisation of the German film industry, government officials of the Weimar Republic developed complex measures to obtain and keep control over a new genre of documentary film which was now called “Deutscher Kulturfilm”. Some of the political expectations linked to the Kulturfilm can be exemplified in the first documentary of feature length released by the Berlinbased Universal Film Corporation in 1920. It contained elements of medical films that had been shot during the last decade of the German Empire, and it was newly composed in 1919 to meet the presumable needs of a broader public in an uncertain democratic future.

scholarly journals The Bukovina expedition of the Academician of Architecture Peotr Petrovich Pokryshkin. Documents and photographs from the Archives of IIMK RAS

2020 ◽  
Vol 28 ◽  
pp. 388-405
Author(s):  
Maria Medvedeva ◽  
Keyword(s):  
World War I ◽  
Scientific Publication ◽  
The State ◽  
Museum Collections ◽  
World War ◽  
Western Front

This paper considers materials of the Bukovina expedition organized for the examination of the state of preservation of architectural monuments and museum collections in the zone of military activities on the Russian western front during World War I. The expedition took place in 1916–1917 under the direction of the Academician of Architecture P. P. Pokryshkin. More than 100 years have passed but the results of the activities of the expedition remain little known. A considerable assemblage of scientific documents from this trip, i.e. a report, letters, diaries, photographs, is kept in the Scientific Archives of IIMK RAS needing a comprehensive scientific publication.

scholarly journals REVIEW: Opening shot over the parapet

2014 ◽  
Vol 20 (1) ◽  
pp. 239
Author(s):  
Peter Hoar
Keyword(s):  
New Zealand ◽  
World War I ◽  
General Public ◽  
Graphic Novels ◽  
World War ◽  
Early Publication ◽  
Western Front ◽  
Big Push ◽  
The Great War

Book review of: The great adventure ends: New Zealand and France on the Western Front, edited by Nathalie Phillippe, Chris Puglsey, John Crawford & Matthias Strohn, Christchurch: John Douglas Publishing, 2013. 424 pp. ISBN 9780987666581This volume is another shot in the bombardment of books about the Great War that marks the 2014 centenary of the start of the ‘war to end all wars’. This literary big push includes novels, graphic novels, histories, biographies, memoirs and diaries written for specialists and the general public. An early publication to pop over the parapet, this collection offers a diverse set of articles that highlight some not so well-known aspects of New Zealand’s involvement on the Western Front during the 1914-18 war. The varied articles in The Great Adventure Ends reflect both the book’s origins in a conference and the variety of ways in which World War I is written about.

scholarly journals William Valentine Mayneord, 14 February 1902 - 10 August 1988

1991 ◽  
Vol 37 ◽  
pp. 341-364 ◽  
Keyword(s):  
World War I ◽  
Brain Tumour ◽  
Educational Opportunities ◽  
The Other ◽  
Chess Player ◽  
Older Children ◽  
World War ◽  
Western Front ◽  
The Family ◽  
Foreign Correspondent

William Valentine Mayneord was born 14 February 1902, the last child of Walter and Elizabeth Mayneord, in Redditch, Worcestershire. Walter Mayneord, who worked first in a fishing-tackle factory in Redditch and later as agent for the Pearl Assurance Company, was clearly a man of many parts. As a youth he was an enthusiastic amateur runner, a very able chess player, playing for Worcestershire, and a well-known figure riding his bicycle aged over 80 and singing in the choir at 90, the year of his death. He was a devoted Gladstonian Liberal and a founder of the Liberal Club in Redditch. Walter and Elizabeth had two older children, Ewart and Gilbert. Ewart the eldest, though largely self-educated, had a great facility for languages and served as an interpreter on the Western Front in World War I. After the war he taught himself Russian and became foreign correspondent for a firm trading with Russia, which he visited on business. Unfortunately Ewart died from a brain tumour at about the age of 34. The other brother, Gilbert, was to some degree mentally deficient and worked as a labourer. But clearly, despite the meagre educational opportunities of the time, the Mayneord family had talent and ability: still earlier, grandfather William Mayneord had been a well-known local preacher. The family books also showed that they were surprisingly well read.

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