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oapen-20.500.12657-511972023-01-31T18:47:07Z The Enemy in Contemporary Film (Volume 12) Löschnigg, Martin Sokołowska-Paryż, Marzena Performing Arts Film History & Criticism bic Book Industry Communication::A The arts::AP Film, TV & radio::APF Films, cinema::APFA Film theory & criticism While filmic representations of ‘enemies’ are legion, film studies have so far neglected the way in which filmic mediations of enemy images have contributed to shaping cultural memories. The present volume investigates the (de)(re)constructions of enemy images in international film since the 1970s. The three parts deal with (re)configurations of the enemy in contemporary global cinemas, analysing films on the two world wars, on regional military conflicts, ethnic, racial and gender conflicts, socio-political conflicts and forms of terrorism. The essays concentrate on film aesthetics and contemporary (geo)politics, on filmic renderings of identity crises caused by troubled national pasts, and on the way films explore the collective psychological mechanisms at play in the construction, perpetuation or problematizing of enemy images. The volume aims to show how in spite of the diversity of national cinemas, moving images are constitutive of national collectivities by rendering conflicts involving an external or internal enemy as the defining points in national or communal histories. It also points out how the dynamics of internalism and exteriority (of ‘we’ and ‘they’) has proved vital in this process. 2021-10-29T05:31:23Z 2021-10-29T05:31:23Z 2018 book 9783110591217 https://library.oapen.org/handle/20.500.12657/51197 eng application/pdf n/a external_content.pdf De Gruyter De Gruyter https://doi.org/10.1515/9783110591217 105457 https://doi.org/10.1515/9783110591217 2b386f62-fc18-4108-bcf1-ade3ed4cf2f3 b818ba9d-2dd9-4fd7-a364-7f305aef7ee9 9783110591217 Knowledge Unlatched (KU) De Gruyter Knowledge Unlatched open access
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While filmic representations of ‘enemies’ are legion, film studies have so far neglected the way in which filmic mediations of enemy images have contributed to shaping cultural memories. The present volume investigates the (de)(re)constructions of enemy images in international film since the 1970s. The three parts deal with (re)configurations of the enemy in contemporary global cinemas, analysing films on the two world wars, on regional military conflicts, ethnic, racial and gender conflicts, socio-political conflicts and forms of terrorism. The essays concentrate on film aesthetics and contemporary (geo)politics, on filmic renderings of identity crises caused by troubled national pasts, and on the way films explore the collective psychological mechanisms at play in the construction, perpetuation or problematizing of enemy images. The volume aims to show how in spite of the diversity of national cinemas, moving images are constitutive of national collectivities by rendering conflicts involving an external or internal enemy as the defining points in national or communal histories. It also points out how the dynamics of internalism and exteriority (of ‘we’ and ‘they’) has proved vital in this process.
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