![]() ![]() “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to Simultaneously published in the USA and Canada by Routledge 29 West 35th Street, New York, NY 10001 © 1997 Andrew Kelly All rights reserved. He is the author of Filming T.E.Lawrence: Korda’s lost epics.ĬINEMA AND SOCIETY General Editor: Jeffrey Richards Department of History, University of Lancaster Also available in this series: THE HIDDEN CINEMABritish Film Censorship in Action, 1913–1972James C.Robertson FILM AND THE WORKING CLASSThe Feature Film in British and American SocietyPeter Stead FILM AND REFORMJohn Grierson and the Documentary Film MovementIan Aitken J.ARTHUR RANK AND THE BRITISH FILM INDUSTRY Geoffrey Macnab HOLLYWOOD IN CRISISCinema and American Society 1929–1939Colin Shindlerįirst published 1997 by Routledge 11 New Fetter Lane, London EC4P 4EE This edition published in the Taylor & Francis e-Library, 2005. Andrew Kelly is a cultural planner and film historian. ![]() He analyses the key themes of these films such as the forgotten generation, the brutality of military incompetence and the waste, horror and bitterness of conflict. Making extensive use of material from the Hays Office and censorship records from archives around the world, Andrew Kelly explores those films which have been considered as anti-war. ![]() Illustrated with over twenty stills from classic films such as The Big Parade, La Grande Illusion, Gold Diggers of 1933, The Roaring Twenties and King and Country, Cinema and the Great War examines the way in which British, American, German and French cinema has helped to transform the popular view of war. Andrew Kelly explores the development of anti-war cinema, from the ground-breaking Lay Down Your Arms, based on Bertha von Suttner’s best-selling novel in 1914, and Lewis Milestone’s bitter All Quiet on the Western Front through to Stanley Kubrick’s magnificent Paths of Glory. Used as a tool for propaganda during the war itself, by the mid-1920s it had begun to reflect the rejection of conflict prevalent in all the arts. Cinema and the Great War concentrates on one part of the art of the war: the cinema. It is this art which has continued to mould the conscience and the imagination since the end of the Great War. What remains is the art of the war: the poetry and prose, the paintings, photographs and films. With over eight million dead and twenty million injured, it was a disaster unparalleled in human history. No war was as violent, pointless and miserable as the First World War. ![]()
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